"MAK,  BOOK— HOW  TO  “  MAKE-  OP.”  A  practical  guide 

•  Amatei^,  with  Twenty-three  Colored  Illustrations. 


NO.  CCCUL 


FRENCH’S  STANDARD  DRAMA. 


THE  LONG  STRIKE, 


§>  §*am»  in  Jour 


BY  DION  BAUCICATJLT,  ESCi. 


NEW  YOKE 

SAMUEL  FRENCH 

PUBLISHER 

26  West  22d  Street 


LONDON 

SAMUEL  ERENf 


PUBLISHEK.  ,TD„ 

S9  Stiiand 


.  MAKE-CT  box. 

lamel  Hair  Brushe  >,  Hare's  Foot,  Wool,  C  raped  lla.r,  Cold  Cieam  Jo.nL> 
a mre  Puffs  Sci»e'>rs  and  Looking  Glass  ;  packed  neatly  m  fc>tione 
j  '  Cases,  $5.00. 


FRENCH®  STANDARD  DRAMJ 


9 

10 

11 

12 

13 

14 
1* 
16 


18 

iy 

80 

21 

28 

23 

V4 


V5 

26 

27 

ta 

29 

30 

SI 

82 


S3 

84 

3ft 

8rt 

37 

38 

32 

40 


VOL.  I. 

Ion 

Fazio 

Tha  Lady  of  Lyons 

Riehelitm 

Tlie  Wife 

The  Honeymoon 

The  School  for  Scandal 

Money 

VOL.  II. 

The  Stranger 
Grandfather  Whitehead 
Richard  III 
Lere’e  Sacrifice 
1  he  Gamester 
A  Cure  for  the  Heartacln- 
Tbe  Hunchback 
Don  C*?sar  d«  Kazan 
VOL.  111. 

The  P*or  Gentleman 

Hamlet 

Charles  II 

Venice  Preserved 

I'izarro 

Tnc  Love  Chase 
Othello 

Lend  me  Five  Shillings 
VOL.  IV. 

Virgin ins 

King  of  the  Commons 

London  Assurance 

The  Rent  Day 

Two  Gentlemen  ol'Verona 

The  Jealous  Wile 

The  Rivals 

Perfection 

VOL.  V.  [Debts 
A  New  Way  to  Pay  Old 
Look  Before  You  Leap 
King  John 
Nervous  Man 
Damon  and  Pythias 
Clandestine  Marriage 
William  Tell 
Day  after  the  Wedding 
VOL.  VI. 

Speed  the  Plough 
Romeo  and  Juliet 
Feudal  Times 
Charles  the  Twelfth 
The  Bride 

The  Follies  of  a  Night 
Iron  Chest  [Fair  Lady 
int  Heart  Never  Won 
VOL.  VII. 
to  Ruin 


Prio 


ents  each. — Bound  Volumes  $1.25. 


out  Nothing 


Venice 


i Young 

Hearts 

rs 

[riage 

Iks  it  ft . 

r  Mar- 

Iix. 

li* 

B 't  her 

Country 


Devils 
VOL.  X. 
fenry  VIII 
Married  and  Single 
Henry  IV 
Paul  "Pry 
Guy  Mannering 
i  Sweethearts  and  Wives 
prions  Family 

hStoops  to  Conquer 


VOL.  XI. 

81  Jullhs  Ca'sar 

82  Vicar  of  Wakefield 

83  Leap  Year 

84  The  Catspaw 

85  The  Passing  Cloud 

86  Drunkard 

87  Rob  Roy 

88  George  Barnwell 

VOL.  XII. 

89  Ingomar 

90  Sketches  in  India 

9 1  Two  Friends 
9  '  Jane  Shore 

93  Corsican  Brothers 

94  Mind  your  own  Business 

95  Writing  on  the  Wall 

96  Heir  at  Law 

VOL.  XIII. 

97  Soldier’s  Daughter 
9-<  Douglas 

99  Marco  Spada 

100  Nature’s  Nobleman 

101  Sardanapalus 

102  Civilization 

103  The  Robbers 

104  Katharine  and  Petruchio 
VOL.  XIV. 

105  Game  of  Love 

106  Midsummer  Night’s 

107  Ernestine  [Dream 

108  Rag  Picker  of  Paris 

109  Flying  Dutchman 

1 10  Hypocrite 

111  Therese 

112  La  Tour  de  Nesle 
VOL.  XV. 

113  Ireland  As  It  Is 

114  Sea  of  Ice 

1 1 5  Seven  Clerks 

116  Game  of  Life 

117  Forty  Thieves 

118  Bryan  Boroihme 

119  Romance  and  Reality 

120  Ugolino 
VOL.  XVI. 

121  The  Tempest 

122  The  Pilot 

23  Carpenter  of  Rouen 
1  4  King’s  Rival 
12ft  Little  Treasure 

126  Dombey  and  Son 

127  Parents'  and  Guardians 

128  Jewess 

vol.  xvir. 

129  Camille 

130  Married  Life 

131  Wen  lock  of  Wenlock 

132  Rose  of  Ettrickvale 

133  David  Copperfield 

134  Aline,  or  the  Rose  of 

135  Pauline  [Killarney 

136  Jane  Evre 
VOL.  XVIII. 

137  Night  and  Morning 

138  /Ethiop 

139  Three  Guardsmen 

140  Tom  Cringle 

141  Henriette.  the  Forsaken 

142  Eustaclie  Baudin 

143  Ernest  Maltravers 

144  Bold  Dragoons 

VOL.  XIX. 

145  Dred,  or  the  Dismal 

[Swamp 

146  Last  Days  of  Pompeii 

147  Esmeralda 

148  Peter  Wilt  ins 

149  Ben  the  Boatswain 

150  Jonathan  Bradford 

151  Retribution 

152  Minerali 

VOL.  XX. 

153  French  Spy 

154  Wept  of  Wish-ton  V  1.  h 

155  Evil  Genius 

156  Ken  Bolt 

167  Sailor  of  France 

158  Red  Mask 

159  Life  of  an  Actress 

160  Wedding  Lay 


141 

162 

163 

164 

165 

166 

167 

168 


VOL.  XXL 
All’s  Fair  in  Love 
Hofer 
Self 

Cinderella 
Phantom 
Franklin 


[Moscow 


169 

170 

171 

172 

173 

174 

175 

176 


177 

178 

179 

180 
181 
182 

183 

184 


185 

186 

187 

188 

189 

190 

191 

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193 

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196 

197 

198 

199 

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201 

202 

203 

204 

205 

206 

207 

208 


209 

210 
211 
212 

21 3 

214 
21  > 
216 


217 

218 

219 

220 
221 
222 
223 


224 


225 

226 

227 

228 

1 2 79 

8? 


The  Gunmaker  of 
The  Love  of  a  Prince 
VOL.  XXII. 

Son  of  the  Night 
Rory  O’More 
Golden  Eagle 
Rienzi 

Broken  Sword 
Rip  Van  Winkle 
Isabelle 

Heart  of  Mid  Lothian 
VOL.  XXIII. 

Actress  of  Padua 
Floating  Beacon 
Bride  of  Lammermoor 
Cataract  of  the  Ganges 
Robber  of  the  Rhine 
School  of  Reform 
Wandering  Boys 
Mazeppa 

VOL.  XXIV. 

Young  New  York 
The  Victims 
Romance  after  Marriage 
Brigand 

Poor  of  New  York 
Ambrose  Gwinett 
Raymond  and  Agnes 
Gambler’s  Fate 
VOi-  XXV. 

Father  and  Son 
Mnssaniello 
Sixteen  String  Jack 
Youthful  Queen 
Skeleton  Witness 
Innkeeper  of  Abbeville 
Miller  and  his  Men 
Aladdin 

VOL.  XXVI. 
Adrienne  the  Actress 
Undine 
Jesse  Brown 
Asmodeus 
Mormons 

Blanche  of  Brandywine 
Viola 

Deseret  Deserted 
VOL.  XXVII. 
Americans  in  Paris 
Victorine 

Wizard  of  the  Wave 
Castle  Spectre 
Horse-shoe  Robinson 
Artnand,  Mrs.  Mowatt 
Fashion,  Mrs.  Mowatt 
Glance  at  New  York 
VOL.  XXVIII. 
Inconstant 
Uncle  Tom’s  Cabin 
Guide  to  the  Stage 
Veteran 

Miller  of  New  Jersey 
Dark  1  lour  Before  Dawn 
Midsutn’r  N  iglj  t’s  Dream 
[Laura  Keene’*  Edition 
Art  and  Artifice 
VQL.  XXIX. 

Poor  Young  Man 
Ossawattomie  Browrn 
Pope  of  Rome 


op 

Pauvr 
Man  : 


233 


Twist 
tte 

the  Iron  Mask 
of  Arva 
Mo!  teller 
Y<  XXX. 

Iliac;;  Kved  S'usau 
•itan  Paris 

leadows  [ess 
I,  or  Irish  Heir- 
-  :es  of  Crime 
and  the  Devil 
or  Moor  of  Sici- 


.nsili 


E 


VOL.  XXXI. 

241  Merry  Wives  of  W 

242  Mary’s  Birthday 

243  Shandy  Maguire 

244  Wild  Oats 

245  Michael  Erie 
;4  5  Idiot  Witness 

247  Willow  Copse 

248  People’s  Lawyer 

VOL.  XXXII. 
248  The  Boy  Martyrs 

250  Lucretia  Borgia 

251  Surgeon  of  Paris 

252  Patrician’s  Daughl 

253  Shoemaker  of  Ton  I 

254  Momentous  Quest!' 

255  Love  and  Loyalty 

256  Robber’s  Wife 

VOL.  XXXIII. 

257  Dumb  Girl  of  Gem 
2.  8  Wreck  Ashore 

259  Clari 

260  Rural  Felicity 

261  Wallace 

262  Madelaine 

263  The  Fireman 

264  Grist  to  the  Mill 

VOL.  XXXIV. 

265  Two  Loves  and  a  I 

266  Annie  Blake 

267  Steward 

268  Captain  Kyd 

269  Nick  of  the  Woods 

270  Marble  Heart  « 

271  Second  Love 

272  Dream  at  Sea 

VOL.  X.XXV. 

273  Breach  of  Promise 

274  Review 

275  Lady  of  the  Lake 

276  Still  Water  Runs 

277  The  Scholar 

278  Helping  Hands 

279  Faust  and  Margue 

280  Last  M-..n 

VOL.  XXXVf. 

281  Belle’s  Stratagem 

282  Old  and  Young 

283  Raffaella 

284  Ruth  Oakley 

285  British  Slave 
2»6  A  Life’s  Ransom 
287  Giralda 

28j  Time  Tries  All 

VOL.  XXXVII. 

289  Ella  Rosenburg 

290  Warlock  oi'  the  Gh 

291  Zelina 

292  Beatrice 

293  Neighbor  Jack  woo 

294  Wonder 

295  Robert  Emmet 

296  Green  Bushes 

VOL.  XXXVIIT. 

297  Flowers  of  the  For 

298  A  Bachelor  of  Arts 

299  The  Midnight  Ban 

300  Husband  of  an  Hot 

301  Love’s  Labor  Lost 

302  Naiad  Queen 

303  Caprice 

304  Cradle  of  I.ibertv 

VOL.  XXXIX. 

305  The  Cost  Ship 

306  Country  Squire 

307  'Fraud  and  its  Viet 

308  I’utnam 

309  King  and  Desei  ter 

310  La  Kianmiina 

311  A  Hard  Struggle 

312  Gwinnette  Vaughn 

VOL.  XL. 

313  The  Love  Knot  [ 

314  Lavater,  or  Not 

315  The  Noble  Heart 

316  Coriolantis 

317  The  Winter’s  Tale 
3'8  Eveleen  Wilson 
319  Ivanhoe 


( French's  Standard  Drama  C 


Faces  'Ilv'320  Jonathan  in  Engl: 

d  page  of  (lover  1) 


e  of  C07 


nr.«x 


NO.  CCCLX. 


FRENCH’S  STANDARD  DRAMA. 


grama  in  Jtnw  gwrtji, 


BY  DION  BAIJ CIC AULT,  ESQ. 

play  is  the  property  of  J.  H.  Stoddard,  Esq.,  to  whom  application  must  b~ 
made  for  permission  to  perform. 


New  York 

SAMUEL  FRENCH  ! 

PUBLISHER 

26  WEST  22D  STREET  [ 


London 

SAMUEL  FRENCH,  Ltd, 

PUBLISHERS 

89  STRAND 


DBAMATIS  PERSON 2E.  — Tiie  Long  Stiitse. 

As  originally  played  at  the  Lyceum  Theater ,  London. 


Noaii  Learoyd  . . 

Jem  Starkee.  . , .  * . 

Richard  Hi: able y 
Mr.  Armitage, 

Mr.  Aspinwall, 

Mr.  Brooke, 
Moneypenny,  ) 

Mr.  Spurrier,  >- . 

Mr.  Wigley,  ) 

Crankshaw . 

Johnny  Reilly . . 

Captain  Wole . 

Telegraph  Operator  . . . 
Gentleman  from  London 
Jack  0  Bobs,  i 
John  O’ Dick,  1 
To  n  0  Bills, 

Old  Siia  brock,  J 

Sir  John  Fairfield . 

Court  Crier . 

Policeman,  &c . 

Jane  Learoyd . 

Betsey  . 

Maggie,  \ 

Susan,  J . 


Leader  of  the  Strike, 
Foreman  of  Engineers 


.Manufacturers 


. .  Solicitors. 

.  .A  Policeman. 

.  .An  Irish  Sailor. 

. .  Capt.  of 1 1  Eliza  and  Mary .  '* 


Strikers. 

Presiding  Judge* 


Operator*. 


A 


THE  LONG  STRIKE. 


ACT  I. 

SCENE  I. — Parlor  of  Seven  Star  Inn.  Box  scene.  Practical  door,  r.  8 
e.  ;  practical  wind oiv,  r.  2  e.;  set  fireplace,  l.  2  e.;  grate ,  etc.;  rug  on 
floor ;  baise  down  ;  mantlepicce  and  looking  glass ;  ornaments ;  clock  on 
mantel ;  sideboard  with  decanters,  glasses,  cigars,  etc. ,  against  flat ;  long 
table,  l.  c.;  8  chairs  set  same  as  ls£  scene,  8  rd  act,  “  School  for  Scandal 
one  arm-chair  at  head  of  table ,  elevated ;  tor  Ling  materials  and  books  on  table; 
office  settee ,  r.  2  e.,  by  window ;  Waiter  discovered  at  sideboard ;  Armi- 
tage  discovered  head  of  table ;  Brooke,  r.  h.  corner  table;  Aspinwall, 
l  h.,  second  chair  ;  Readley  at  table  ;  Crankshaw  discovered  at  door.  P 
3  e.;  noise  outside ;  voices  outside  at  rise  ;  music. 

Armitage  Have  you  dispersed  the  crowd  ? 

Crankshaw  No,  sir,  the  people  are  very  orderly  but  they  will  not 
move  on. 

Readley  The  street  below  is  impassable  ;  the  mob  increases. 

Arm  Very  well.  [Exit  Crankshaw.  Armitage,  rising .]  Gentle- 
tlemen,  we  have  to  deal  with  a  most  perilous  crisis.  The  working 
men  of  Manchester  have  now  maintained  the  longest  stike  on  record. 
The  claims  I  advanced  some  weeks  ago,  were,  I  confess,  extravagant 
but  I  hear  that  moderate  counsels  have  lately  prevailed  amongst 
them.  Let  us  hope  the  moment  has  arrived  when,  by  manual  con¬ 
cession, — 

Read  I,  for  one,  will  concede  nothing.  The  longer  this  strike  is 
maintained,  the  more  salutary  will  be  the  lesson.  Their  suffering, 
wantonly  self  inflicted,  will  remain  a  tradition  amongst  singular  com 
bination. 

Brooke  I  agree  with  Mr.  Readley.  Concession,  to  these  people,  is 
encouragement. 

Aspinwall  If  this  demand  be  just,  it  may  be  provoking  to  find  it 
widely  prevented,  but  our  dignity  should  not  stand  in  the  way  of 
our  honesty. 

Enter  Crankshaw,  r.  3  e. 

Crank  The  deputation  of  the  working  committee  is  below,  gentle¬ 
men. 


I 


THE  LONG  STRIKE. 


Arm  How  is  it  composed?  D’ye  know  the  men? 

Crank  Yes,  sir — there’s  Noah  Learoyd — 

Arm  The  crazy  enthusiast  ?  I  am  sorry  he  is  amongst  them  - 

Well  ? 

Crank  James  Starkee,  John  O’ Dick  and  Old  Sharroek. 

Read  These  are  the  ringleaders. 

Arm  So  much  the  better — show  them  in. 

[Exit  Cranksiiaw,  r.  3  e. 

Read  It  seems,  gentlemen,  we  are  divided  in  our  policy — our  party 
id  for  firm  measures,  the  other  for  conciliation.  We  who  are  resolute 
will  hold  aloof  from  this  interview,  leaving  the  negotiations  for 
peace  in  your  hands. 

Enter  Cranksiiaw,  r.  3  e.  and  is  about  to  admit  the  deleqates ;  is  stopped  by 

Readley  saying 

One  moment,  officer.  [Cranksiiaw  doses  door — delegates  still  outside .] 
If  terms  be  proposed  to  you  which  are  acceptable,  we  consent  to 
adhere  to  your  resolution;  but  if,  on  the  other  hand,  terms  are  offered 
by  these  men  which  you  reject,  then  you  pledge  yourselves  to  follow 
in  your  wake  and  support  the  measures  we  resolve  to  adopt. 

[0 nines i  except  Armitage,  signifying  consent  by  saying  “  agreed,  very  good." 
Readley,  Brooke  and  one  Gentleman  retire  to  fireplace.] 

Arm  [To  Cranksiiaw.]  You  may  admit  the  deputation. 

[Cranksiiaw  opens  door. 

Euler  Noaii  Learoyd,  John  O’ Dick  and  Old  Sharrock.  r.  3  e. 

Arm  Well,  my  men,  which  of  you  is  spokesman? 

Noah  I  am. 

Arm  You  come  as  delegates  from  the  discontented  workmen? 

Noah  We  come  from  the  men  of  Manchester,  and  we  come  to  a 
Manchester  man.  Thou  wer’st  a  working  man  once  thyself,  John 
Armitage,  and  to  thee — 

Arm  We  don’t  want  a  speech — expose  your  griefs.  What  are 
they? 

Noah  No  one  knows  but  Him  above,  who  looks  down  on  our  alleys 
and  lanes.  He’s  keeping  a  reckonin’,  and  when  you  get  up  there 
He’ll  show  it  up  to  ye. 

Delegation  Hear,  hear  ! 

Arm  My  good  men,  we  shall  be  glad  to  redress  your  wrongs  if  you 
will  but  state  them. 

Read  Aye,  and  state  them  humbly.  n. 

Noah  Aye,  as  workingmen  should— I  know  how  you  look  upon  the 
workingrjaen,  Dick  Renxlley— they  are  at  home  in  three  places— the 
mill,  the  felon’s  dock  and  the  grave. 

Arm  Noah  Learoyd,  the  people  have  chosen  you  unwisely  to  repre¬ 
sent  them.  This  is  no  place  for  such  language. 

Noah  That’s  so  ;  I  know  it ;  I  am  wrong  ;  I  have  no  right  to  speak 
so  here.  It’s  only  once  a  week  you  rich  folks  go  to  hear  the  truth,  and 
I  am  not  licensed  to  tell  it  ye.  No  offense,  but  there  on  that  bit  o’ 


THE  LONG  STRIKE. 


5 


paner  is  writ  the  people’s  prayer.  It’s  nut  so  big  as  the  Magna 
Charta,  but,  smal.  as  it  is,  a  million  of  men  do  take  their  stand  upon 

it. 

Arm  This,  then,  contains  vour  ultimatum? 

Noah  What’s  that? 

Arm  I  mean  is  it  all  the  concession  the  people  are  prepared  tu 
make? 

Noah  Aye?  ayc,  you  may  call  it  the  last  word  to  a  proud  heart,  to 
an  empty  bully. 

Arm  [ After  reading  paper.]  I  hope  you  have  some  other  proposal 
more  moderate  than  this  ? 

Aspin  [ Reading  paper.]  You  ask  too  much. 

Noah  If  I  thought  there  was  one  wrord  there  that  was  not  right,  I’d 
cut  the  hand  off  that  wrote  it,  and  that’s  my  own.  I’d  starve,  man, 
before  I’d  ask  it,  and  if  I  tried  to  let  a  lie  out  on  it  I’d  choke. 

Arm  Please  to  retire  while  we  take  your  terms  iuto  consideration. 
We  are  very  desirous  to  adjust  our  unhappy  differences. 

Noah  You  are,  John  Armitage,  but  some  here  ain’t. 

Read  If  you  mean  me,  my  man,  you  are  right— if  I  had  my  way 
with  you  I  would  not  listen" to  a  word  until  you  had  learned  submis¬ 
sion. 

Noah  Aye,  condemn  and  execute  us  first  and  then  hear  what  we’ve 
to  say.  [Exit  Noah,  O' Dick  and  Old  Shakrock,  r.  3  e. 

Read  Those  ruffians  are  always  ready  with  some  vulgar  retort. 

[Grosses  c.  and  joins  Brooke  and  party  up  stage. 

Aspin  It  is  impossible  to  meet  those  demands. 

[Headley  and  party  laugh  after  reading  paper  in  undertone. 

Arm  The  city  is  in  a  fever — we  should  not  expect  cool  judgment 
lrom  a  distempered  body.  [Headley  and  party  repeat  bus.  as  before. 

Aspin  But  we  may  interpose  moderation  in  their  counsel.  Readley 
is  inclined  to  go  too  far. 

Read  [Advancing  to  l.  ii.  corner .]  Well,  gentlemen,  I  presume  you 
reject  this  precious  document,  and  if  so,  you  resign  yourselves  to 
support  our  measures.  [Omnes,  except  Armitage,  exclaim  yes ,  yes. 

Arm  Then  you  must  permit  me  to  vacate  the  chair  if  I  must  sub¬ 
mit.  I  decline  to  be  the  leader  of  an  action  I  can  not  approve. 

[Rises  and  stands  by  chair 

Brooke  Gentlemen,  I  propose  that  Richard  Readley  do  take  the 

chair. 

Omnes  Aye,  Readley,  Readley. 

[Readley  bows ;  goes  up  and  takes  chair. 

Read  Gentlemen,  I  shall  endorse,  on  this  paper,  and  in  a  few 
words,  the  proposal  (we  are  agreed  to)  I  think,  to  make  to  these  mis¬ 
guided  fellows.  Should  our  terms  be  rejected,  we  bind  ourselves  to 
a  general  lockout.  When  they  find  there  is  no  hope  of  coercing  us 
they  will  come  to  their  senses. 

Arm  Or  lose  them  altogether. 

[The paper  on  which  Readley  has  written  he  hands  to  Gentleman  on  r.  and 
it  is  passed  around  table  and  to  Armitage  by  fireplace.] 


6  THE  LONG  STRIKE. 

Retd  You  may  admit  those  men.  [To  Crankshaw,  who  ope ns  douf 
and  admits  Noaii  and  others.]  We  have  considered  your  proposal. 

— Noah  I  know  ye  have  and  I  know  what’ll  come  of  it.  I  am  Surry 
to  see  thee  in  the  chair,  Richard  Readley. 

Headley  You  have  set  down  your  terms ;  they  are  not  quite  such  as 
we  can  entertain,  so  we  have  embodied  our  views  and  you  will  find 
them  endorsed  on  your  own  paper. 

Arm  [Aside  to  Readley,  handing  paper.]  This  is  a  most  serious  stop. 

Read  I  accept  the  responsibility. 

[Readley  hands  paper  to  Noah  who  reads  and  consults  delegates  in  an  under 

tone.] 

Noah  Do  you  mean  this  ?  It  ain’t  no  joke  ?  Is  this  the  stone  you 
gave  us  when  we  asked  for  bread  ? 

Read  We  are  resolved  to  abate  no  jot  of  those  conditions.  You 
have  formed  a  league  to  coerce  your  employers  ;  beware,  or  the  mus¬ 
ters  may  combine  against  you.  The  few  mills  now  open  will  then  be 
closed  and  there  will  follow  a  general  lockout. 

[Striking  table  with  hand. 

Noah  This  is  thy  writing,  too  ? 

Read  Aye,  in  reply  to  yours.  It  is  well  that  you  should  learn  that 
there  are  those  here  as  firm  as  you  are  stubborn. 

Noah  Do  you  not  know  that  this  will  harden  the  hearts  of  the 
men  ?  Iron  as  they  are,  they  will  become  steel. 

Read  Return  to  work  then  and  open  the  mills. 

Noah  and  Delegates  Give  us  our  rights. 

Read  Further  discussion  is  useless. 

Noah  Come,  lads,  we  have  no  further  business  here. 

[Gentlemen  are  in  earnest  conversation ,  and  Noaii  and  Delegates  are  about 
•  to  exit  as 

scene  closes. 


SCENE  H. — First  groove.  Old  Millgate  Lane;  a  view  of  mills  in  distance . 

Enter  Jane  Learoyd,  l.  1  e.,  looking  around  as  if  expecting  some  one ; 
throws  back  hood  she  wears  over  head. 

Enter  Jem  Starkee,  l.  1  e. 

Jem  Why,  Jane,  why  are  you  loitering  here  ?  This  is  a  lone  place 
for  a  girl  like  you ;  I'll  see  you  home  ;  there’s  rough  folk  abroad-  to¬ 
night. 

Jane  Nay,  I’m  not  afraid,  Jem. 

Jem  But  I  am,  and  bodily  scared  for  your  sake.  This  ain’t  the 
first  time  you’ve  chosen  this  way  home  in  the  dark,  and  if  you  ain’t 
afraid  it’s  because  you  had  some  one  with  you. 

Jane  You  have  spied  on  me,  Jem  Starkee.  What  right  have  you 
to  watch  my  doings  ? 

Jem  \V  hat  right?  Oh,  can  you  ask  me?  I  have  the  right  to  love 
vou,  Jane. 


THE  LONG  STRIKE. 


7 


Jane  Who  gave  it  to  you? 

Jem  You  did.  What  has  my  life  been  but  one  long  service  of  lor* 
to  you  ?  You  saw  it  plain  enough  and  you  never  told  me  to  go  my 
ways. 

Jane  I — I — looked  on  you  as  a  friend,  Jem,  as  a  brother. 

Jem  No  you  didn’t ;  you  know  better  ;  and  not  long  ago  you  grew 
to  love  me  a  bit,  until — 

Jane  Until  what  ? 

Jem  Until  Richard  Readlej ,  your  master,  took  to  meeting  you 
slightly  in  the  lane  on  your  way  home  from  the  mill,  until  he  filled 
your  ears  with  lies  and  your  heart  with  vanity. 

Jane  I  don’t  know  what  rights  I  have  given  you,  but  I’ve  given 
no  man  the  right  to  insult  me.  You  said  I  never  told  you  to  go 
your  ways — I  do  so  now — I  don’t  care  for  ye — 1  never  did — there, 
[Crosses  to  r.  1  e.]  you  have  no  excuse  now  to  play  the  spy  upon  me. 

[Exit,  R.  1  E. 

Jem  I  don’t  care  for  ye,  and  I  never  did!  Was  it  Jane  who  spoke  ? 
Was  it  my  girl  ?  She  told  me  to  go  my  ways  !  Where  shall  I  go 
where  she  is  not  ?  Ah  !  yonder  is  Readley  ;  I  knew  why  she  was 
loitering  here.  I  knew  it  all  over  me.  [ Looks  off,  r  1  e.]  He 
crosses*the  lane— they  speak— oh,  Jane  !—  Jane  !  -but  what  is  she  to 
me  ?  She  never  cared  for  me — I  must  not  watch  them— she  turns 
back  wi’  him — they  come — his  eyes  on  hers,  her  breath  mixin’  wi’ 
his’n.  [ Crosses  to  l.  n.]  They  come,  and  I  must  go  my  ways— I 
must  go  my  ways.  [Exit,  l.  1  e. 

Enter  Readley  and  Jane,  his  arm  around  her  waist. 

Jem  You  must  not  stop  me,  sir.  Indeed,  I  must  go  home. 

Read  Your  home  must  not  be  a  hovel,  Jane  ;  those  bright  eyes 
must  not  grow  dim  over  night  work  ;  those  delicate  hands  were 
never  made  for  labor. 

Jane  Pray  let  me  go. 

Read  Not  until  you  whisper  you  would  rather  stay.  Give  me  some 
little  word  to  nurse  until  we  meet  again. 

Jane  W  hat  shall  I  say  ? 

Read  Say  that  you  will  meet  me  to-morrow  night  in  the  lane,  be¬ 
hind  my  house. 

Jane  Hush  !  Some  one  is  stirring  yonder — see  ! 

Read  It  is  a  policeman. 

Jane  Nay,  not  him.  There  is  the  gloom  sittin’  on  yonder  block  o* 
stone.  Good  night,  sir,  I  must  be  gone. 

Read  How  you  tremble. 

Jane  Good  night.  [Exit,  r.  1  e. 

Read  She  loves  me.  I  must  not  chide  her  fears  ;  they  arc  the  proof 
of  her  innocence  and  of  the  power  of  her  passion  for  me,  but  to-mor¬ 
row  night  I  will  put  her  heart  to  the  test. 

Jem  Starkee  enters  during  speech  and  walks  to  c.  as  Readley  turns. 

Jem  May  I  speak  a  word  to  you,  sir  ? 


8 


THE  LONG  STRIKE. 


Ready  Certainly— who  are  you  ? 

Jem  Jem— Jem  Stark ee,  sir — foreman  of  the  engineers  at  Aspin 
walls. 

Read  Well,  what  do  you  want  with  me?  Make  haste — I’m  hurried, 
so  come  to  the  point. 

Jem  I  will,  sir.  I  think  you  are  keeping  company  wi’  a  young 
woman  called  Jane  Learoyd  ? 

Read  [Added]  Who  the  deuce  is  this  ?  Some  low  admirer  of  hers — 
a  rival  ?  It’s  rather  degrading  to  be  mixed  up  with  such  cattle. 

Jem  Well? 

Read  I  was  thinking — let  me  see — Jane — you  mean  the  daughter 
of  old  Norah  Learoyd — a  little  blue  eyed  hussey  ? 

Jem  She’s  a  good  girl,  sir,  tho’  maybe  a  little  set  up  wi’  her  beauty 
but  she’s  her  father’s  only  child  and — 

Read  What’s  all  this  to  me?  Have  you  stopped  me  here  to  tell 
me  the  girl  is  pretty  ?  I  know  it.  Goodnight. 

Jem  Stop,  sir,  I’ll  tell  you  in  plain  words  what  I’ve  got  to  say. 
Jane  Learoyd  loves  ye.  I  ha’  known  her  long  enough  to  feel  surf 
she’ll  make  a  noble  wife  for  any  man,  be  he  who  he  may.  Do  you 
mean  to  marry  the  girl  ? 

Read  Are  you  her  brother  ? 

Jem  I  mean  to  stand  by  her  like  one.  If  you  mean  rightly,  you 
won’t  think  the  worse  of  me  for  what  I’m  saying,  but  if  not,  for  your 
own  sake,  as  well  as  for  hers,  let  her  alone  and  never  speak  to  her 
more. 

Read  Has  she  authorized  you  to  take  this  step  ? 

Jem  I  want  no  authority  to  do  what’s  right. 

Read  You  are  neither  her  father  or  her  brother,  and  you  have  no 
right  to  interfere. 

Jem  Neither  father  nor  brother  could  love  her  as  I  ha’  done.  Aye, 
as  I  love  her  still.  If  love  gives  any  claims,  then  no  one  can  comf 
up  to  my  right.  Do  you  mean  fair  by  Jane  or  not  ? 

Read  Confound  you,  man,  stand  back. 

Jem  Not  until  you  have  answered  me. 

Read  Then  I’ll  make  you. 

[Strikes  Jem,  who  seizes  him  ;  struggle.  Music. 

Enter  Crankshaw,  l.  1  e.,  ivho  separates  them. 

OranJc  I  saw  the  assault,  sir  ;  shall  I  take  the  man  into  custody  ? 

Read  No,  I  struck  him  first — let  him  go.  But  don’t  think  thi* 
sort  of  bullying  will  serve  your  end  or  help  the  girl.  I  sliall  not  for¬ 
get  3tou.  my  man. 

Jem  I’ll  take  care  ye  sha’n’t.  Bare  to  injure  my  girl  and  I’ll  find 
ye  where  no  policeman  can  step  in  to  serve  ye.  Heaven  shall  judge 
between  us  two.  [Exit  Headley,  r  i  e. 

Crank  Take  care;  my  lad,  there’s  no  woman  in  the  world  worth 
what  you  will  bring  upon  yourself,  if  you  don’t  mind. 

Jen  D’ye  think  I’ll  stand  by  and  have  him  injure  my  girl?  No, 
no,  1  11 — 


THE  LONG  STRIKE. 


Orank  Como,  come — move  on,  move  on  now  ! 

[Crankshaw  forces  him  of,  l.  1  b 

WHISTLE  SCENE. 


SCENE  III. — Noah’s  dwelling;  box  scene  in  four;  plain  rustic  chamber; 
practical  door ,  l.  8  e.  ;  practical ,  r.  flat ;  set  staircase ,  l.  c.,  against  flat, 
ascending  to  a  practical  door  to  open  up  stage— real  lock  onaooi  ;  set  platform 
behind  door,  L.  C.;  flat  interior  backing  cut  window,  flat,  l.  3  e  ;  table  and 
two  chairs,  c.;  Gentlemen  from  London,  Jack  0’Bob3,  Tom  O’Bills, 
Maggie,  Susan,  and  two  small  children,  and  all  the  mill  hands  discovered 
at  change.  Clerk  seated  at  table  upon  ivhich  is  a  bag  of  money,  ledger, 
writing  materials  and  lighted  candles  ;  crowd  gathers  round  table  ;  murmurs 
by  crowd. 

Gentleman  from  London  [ Taking  stage  l.  of  c. ,  hack  to  audience,  reading 
list.]  Susan  Olland — two  h’infants  and  von  'usband,  h’operatives  li’on 
the  strike — one  shilling  and  three  pence  for  the  man,  h’ eight  pence 
for  the  woman,  and  three  pence  a  ’ead for  h’ each  h’ infant — total,  two 
an’  three  pence  ha’  penny. 

Maggie  [As  Susan  is  about  to  take  money.]  Stop  !  Her  man  he  dead. 
Thou  hast  no  right  to  draw  for  he,  lass  ? 

Gent  Dead  ? 

Tom  Aye,  he  be  as  dead  as  a  door  post. 

Gent  For  shame,  Mrs.  Oiland,  ’ow  could  you  h’ impose  h’on  the 
“  London  Central  Strike  Fund  ?” 

Susan  Oh,  sir,  my  babies  are  clemming. 

Gent  Clemming !  What  does  she  mean  ? 

Jack  Starving,  sir — that’s  all. 

Gent  Retire,  Mrs.  Olland,  babies  IT  ain’t  on  the  list.  [Reads.]  Jack 
O’ Bobs ! 

Jack  That’s  me  [Goes  to  table. 

Gent  Full  growed  h’operative — one  and  three  pence. 

Clerk  hands  money  to  Jack. 

Jack  [Turns  to  Susan.]  Here,  lass,  take  it.  I  can  clem  better  than 
thee  and  thy  childer. 

[Gives  money  to  Susan.  Crowd  murmurs  approvingly. 
Tom  That’s  right,  Jack,  thou  art  a  good  lad,  and  as  long  as  I  have 
a  shilling,  we’ll  share  it  together. 

Omnes  Aye  !  Aye  ! 

Tom  But  here  comes  the  delegates. 

Omnes  Aye  !  the  delegates !  The  delegates  ! 

Enter  NoAn,  Sharrock,  Stalet  and  O’Dick. 

Noah  [Making  way  through  crowd  '  stands  by  table.]  We  came  from  the 
masters. 

Cnnes  Well — well? 

Noah  [Hands  paper  to  Clerk,  who  hands  it  to  Gentleman  from  London.) 
The:  an,  read  it  out,  for  I’ve  not  the  heart  to  do  it. 


to 


THE  LONG  STRIKE. 


Gent  [Reads.]  “  The  masters  give  you  twenty-four  hours  to  return 
to  work-  [Murmurs.]  After  that  time  every  mill  will  be  closed 
against  you.  [Murmurs.]  No  further  communications  will  be  re¬ 
ceived.  Signed  for  the  Masters’  League,  Richard  Readley.” 

Noah  [Loud  murmurs.]  They’re  right,  lads,  they’re  right.  For 
when  a  man  has  said  his  last  word  the  time  has  come  to  strike  the 
first  blow. 

Omnes  Aye,  aye  ! 

Gent  The  Central  Fund  h’is  h’opposed  to  h’any  violence,  unless  the 
blows  is  constitootional,  and —  [Murmurs. 

Noah  Silence,  lads,  the  gentleman  from  London  is  going  to  speak. 
W ell — well — what  does  London  advise  Manchester  to  do  ? 

Gent  Be  h’ordley,  k’igitate,  and  the  Central  Fund,  which  have  sup¬ 
ported  the  strike,  will  continue  to  discharge  its  docties. 

Noah  You  mean  that  it  will  enable  us  to  starve  by  inches,  and  by 
so  doing,  it  will  continue  to  support  us  in  the  strike.  Go  tell  Lun 
nin’  that  we’ve  looked  death  in  the  face  long  enough— long  enough 
not  to  be  afeard  of  it  now,  and  if  it’s  got  to  come,  we  may  as  well 
*etch  it  in  striking  for  our  rights. 

Gent  Really,  this  here  talk  is  getting  beyond  the  h’ object  of  the  fund 
—I  withdraw.  [Takes  money  from  table. 

Noah  Go  then,  men,  for  I’ll  argue  wi’  my  tongue  no  more,  but  wi’ 
my  hands. 

Omnes  Aye  !  Aye  ! 

Gent  Go !  It’s  all  very  well  to  say  go,  but  look  at  this  money. 
How  shall  I  carry  it  through  the  famishing  crowd  outside  ? 

Noah  [Looking  round.]  Come  here,  Maggie.  Go  wi’  this  man,  and, 
as  you  walk  along,  tell  them  ye  meet  that  he’s  carrying  the  poor 
man’s  money.  Go  wi’  that  lass,  man,  and  ye’ll  meet  wi’  no  harm. 
[Exit  Gentleman,  followed  by  Clerk  and  Maggie,  d.  f.  r.  c.]  Home 
77i’  ye  lads  and  leave  me  wi’  the  delegates.  I’ve  brought  ye  to  this 
pass  and  I’ll  die  but  I’ll  see  ye  righted. 

Jack  Come,  lads,  we’ll  go  to  Headley's  mill  and  give  the  glaziers  a 
job,  and  woe  betide  his  carcass  if  he  shows  his  nose  in  Manchester. 

[Exit  omnes  except  Noah,  Shamicle,  Staley  and  O’ Dick,  d.  f. 

Omnes  Aye  !  to  Readley’ s !  To  Readley’ s. 

Noah  To-night  we  must  fix  on  what  we’ve  to  do  and  where  the 
first  blow  shall  fall.  -  [Exeunt  hi  room ,  l.  3  e. 

Enter  Jane,  d.  r.  f. 

Jane  The  streets  are  full  of  angry  men.  The  night  will  not  pass 
wi’  out  some  outrage.  As  I  hurried  home  1  heard  the  name  of  Read- 
iey  in  their  mouths,  coupled  with  such  threats  that  made  my  very 
heart  stand  still  with  terror.  [Knock  at  d.  f. 

Enter  Jem  Starkee,  d.  f 

Jem  Jane,  I’ve  come  to  ax  your  pardon. 

Jane  Say  no  more  about  it,  Jem,  I’m  sorry  I  spoke  unkindly  to 
thee,  lad,  but  I  was  vexed  sorely. 


THE  LONG  STRIKE. 


n 


Jem  Thank  ye,  Jane,  I  mun  say  no  more  about  it.  I’ve  said  too 
much  or  I’ve  said  too  little  ;  don’ t  stop  me,  for  I  mun  have  it  out  this 
night. 

Jane  Well? 

Jem  Since  we  were  boy  and  girl,  I  have  loved  thee  above  father, 
mother  and  all.  I  dare  na  speak  to  you,  for  I  had  no  way  of  keeping 
a  wife  then,  but  oh  !  I  lived  in  fright  some  one  else  should  take  ye 
from  me  afore  I’d  made  a  home  for  ye. 

Jane  I  knew  it !  I  knew  it ! 

Jem  But  now  I  have  a  home  to  offer  thee.  It  ain’t  a  rich  one,  may 
be,  but  if  a  loving  heart  and  a  strong  right  arm  can  shield  ye  from 
sorrow  and  want,  mine  shall  do  it.  I — I — can’t  speak  as  I  would  like 
to,  nor  as  you  deserve ;  nay,  love  won’t  let  itself  be  put  in  words,  but 
won’t  ye  help  me  out  a  bit  ? 

Jane  [ Placing  her  hand  in  his.]  Jem,  I  won’t  deceive  ye — I  can  not  be 
your  wife. 

Jem  Not  be — I — I — I — can  not  swallow  these  words. 

Jane  I  did  love  you  once. 

Jem  Aye,  aye. 

Jane  And  may  be  I  would  a  had  ye  then  but  that  time  went  by  and 
then  I  came  to  look  upon  ye  as  a  brother. 

Jem  But  would  not  that  other  time  may  be  coom  again  ?  I’d  wait. 
Jane;  I’d  weary  out.  Just  say  the  word,  won’t  ye  ?  No  !  no  !  don’t 
answer— don't !  I  see  what’s  a  cornin’!  Oh,  think  a  while  and  try 
to — to— oh  !  if  you  only  knew  how  I  love  ye  ! 

Jane  I  do ! — I  do  !  but  don’t  ask  me,  Jem  ! 

Jem  D’ye  mean  it,  Jane?  Is  it  once  for  all?  You  are  silent,  and 
this  is  the  end  on  it.  It  is  the  end  of  my  life,  then,  for  it’s  the  end 
of  all  that’s  worth  living  for.  My  bitter  curse  on  him  that  took  ye 
from  me.  The  time  will  soon  coom  when  he  and  I  will  square  this 
thing.  I  feel  it  in  me,  and  after  we  meet  again  there  will  be  one  of 
us  less  to  trouble  ye.  Good-by,  Jane,  I  won’t  cross  ye  again.  If 
ye  hear  of  me  as  a  drunkard  you  may  say  I  drove  him  to  that,  or  if, 
may  be,  I  stand  in  a  felon’s  dock  as  a  murderer,  or  thief,  when  all  are 
speaking  ill  of  me  don’t  you  blame  me,  for  you  will  make  me  what  I 
shall  become.  [Tnr  :s  and  goes  to  door.']  You  won’t  even  say  you  will 
try  and  like  me,  will  ye  ?  Oh  !  will  ye,  Jane  ? 

Jane  [Crosses  to  him.]  Nay,  Jem,  don’t  leave  me  in  anger.  I’m  not 
worth  one  of  them  big  tears  in  your  eyes  ;  if  I  was,  I’d  ha’  loved  ye 
as  you  deserve.  But  I — I — can’t — I  can’t  and  I’m  too  honest  to  gi’  ye 
a  heart  wi’  another  man  in  it. 

[Music  harried.  Murmurs  outside  in  distance  gradually  increasing . 

Enter  Readley,  breathlessly ,  d.  f.,  without  hat.  Closes  door. 

Read  Jane ! 

Jane  Readley ! 

Read  Save  me  !  The  infuriated  mob  beset  me  !  I  tore  myself  from 
a  hundred  murderers  and  fled  here ! 

Jane  My  father  is  in  yon  room. 


12 


THE  LONG  STRIKE. 


Read  Your  father  ?  and  [Nees  Jem.]  lie  here  ?  I  am  lost !  [foirmun 
outside.]  Hark  !  They  are  coming  to  kill  me  ! 

Jane  No  !  In  there— quick  ! 

[Points  to  staircase.  Exit  Headley  up  staircase  and  through  d.  l.  f. 

Jane  Oh,  Jem  !  [Music. 

Enter  Jack  O’Bobs,  followed  by  Tom  O’ Bills,  Susan  and  Maggie,  and  all 

mill  hands ,  d.  r.  f.,  shouting — where  is  he?  where  is  he?  Enter  Noah 

and  Delegates  same  time ,  l.  2  e. 

Jack  Where  is  he  ? 

Noah  Who  d’ye  seek  ? 

Jack  Headley. 

Noah  What  ?  Readley  in  my  house  ? 

Jack  I  could  not  ha’  been  mistaken.  Did  no  one  coom  in  here  but 
now  ? 

Jane  Yes,  Jem  Starkee  came  in,  and  there  he  is. 

Jack  So  he  be  ;  but  did  no  one  coom  in  since  ? 

Jane  How  could  they  unless  we  seed  them  ? 

Noah  Speak  out,  Jem  Starkee — did  ye  see  the  man  ? 

-  Jem  [Catching  Jane’s  eye.]  No ! 

Jack  He  sped  down  the  lane  and  he  can’t  get  from  it,  so  we  are 
safe  to  find  him. 

[Exit  Jack,  d.  f.,  followed  by  crowd  shouting.  Exit  Noah,  Sharrock, 
Staley  and  O’ Dicks,  into  room  l.  3  e.] 

Read  [ Appears  at  door  above.]  Are  they  gone  ? 

Jane  Nay,  they  beset  the  lane.  They  will  be  hack  here  anon  or 
my  father  will  find  you  and  cast  you  out  amongst  them,  and  they’11 
tear  thee  limb  for  limb. 

Read  Oh,  save  me,  Jane ! 

Jane  I  couldn’t,  but  Jem  can  do  it  if  he  will. 

Read  He  loves  you  and  will  do  anything  you  ask  him. 

Jane  [To  Jem.]  You  coom  here.  You  asked  me  but  now  to  marry 
you  and  I  said  I’d  never  be  your  wife  ;  well,  now  I  say — save  his  life 
and  take  mine. 

Jem  Can  you  ask  me  to  do  this,  and  will  he  let  you?  Ah,  now  I 
feel  you  will  never  love — never— your  life  for  liis’n.  No,  Jane,  I  will 
not  take  thy  heart  wi’  another  man  in  it.  Good-by,  my  darling, 
it’s  all  over  wi’  me  now.  [To  Headley.]  I’ll  save  thy  life  for  her 
sake.  Stand  by,  sir,  while  I  lead  the  crowd  away — I’ll  coom  back  for 
ye  when  the  lane  is  clear.  [Exit  d.  f. 

Read  May  I  trust  him  ? 

Jane  Aye,  till  they  kill  him — then  thou  must  take  care  of  thyself. 
Hark  !  I  hear  my  father  stirring — in  wi’  thee — quick  !  [Exit  Read- 
ley  up  stairs.]  Oh,  why  did  he  let  me  gi’  myself  away  and  never  said 
a  word. 

Enter  Noak  and  the  Three  Delegates,  l.  8  e. 

Noah  Go,  lass,  speed  thee  cross  the  lane  to  thy  sister’s  house  and 


THE  LONG  STRIKE. 


tt 


spend  tbe  night  there  ;  I  have  business  wi’  these  men  alone — work  to 
do— aDd  do  not  need  thee— get  thee  gone,  lass. 

Jane  [Aside,  as  she  takes  up  shawl.]  Do  they  know  that  he  is  there? 
There’s  a  wild,  red  mischief  in  their  eyes,  and  they’re  fain  to  tremble 
and  look  pale  at  what  they’re  goin’  to  do. 

[Goes  up  staircase  ;  locks  door  and  lakes  key. 

Noah  What  are  you  doing  there,  lass  ? 

Jane  Locking  my  bedroom  door.  [Exit  d.  f.  Music  pp. 

Noah  Now  we  are  alone,  lads.  [After  locking  door ,  d.  f.]  Are  we 
all  agreed  ? 

Omnes  We  are. 

Noah  Then,  to  night,  let  them  feel  our  vengeance.  Each  night  a 
mill  shall  be  burned  to  the  ground.  The  first  may  look  like  accident, 
but  they  shall  soon  find  by  the  chimneys  standing  how  long  Man¬ 
chester  will  last. 

[During  above  speech  Eeadley  appears  at  window  in  flat  r.  of  door ,  up 

staircase.] 

Read  [Aside.]  A  plot  to  destroy  the  city. 

Noah  Let  Eeadley  be  the  first  to  feel  it. 

Omnes  Aye,  let  him  have  it ! 

Read  [Aside.]  Villians!  what  do  I  hear? 

Noah  Mark  me — I  tear  this  bit  o’  paper  into  four.  [Music pp.]  On 
one  I  put  a  cross.  [Business  of  same.]  Now  gi’  me  your  hat.  [Siiar- 
rock  gets  hat  from  rail  in  flat  r.]  I  throw  in  the  four  lots.  Now  let 
each  man  draw  and  go  his  way  alone.  Him  as  draws  the  cross  shall 
be  the  people’s  executioner.  None  shall  know  which  one  of  us  is 
elected — so  he  will  have  no  accomplice.  Now,  James  Staley,  you 
begin.  [Staley  draws  slip  of  paper  and  goes  off  slowly,  d.  f.  ;  O’ Dick  and 
Siiarrock  do  same ;  Noah  draws  last  lot ,  goes  slowly  to  window ,  l.  3  e., 
looks  at  it— pause.]  I  knew  it.  [Exit  l.  2  e. 

Enter  Jane,  d.  f.  ,  goes  up  staircase  and  unlocks  door.  Eeadley  appears. 

Jane  Quick — make  haste ! 

Enter  Jem,  d.  f.,  as  Eeadley  descends. 

Jem  Come — nay,  do  not  doubt  me — for  her  sake,  I  save  your  life. 

Jane  on  staircase,  Jem  at  door,  Eeadley  back  to  audience. 

CURTAIN. 


ACT  II. 

SCENE  1. — Same  as  last  scene  first  Act.  Jane  discovered  laying  table  for 
tea;  goes  ton.  f.  ;  looks  out ;  returns. 

Jane  He  let  me  give  myself  away  and  never  said  a  word.  .  Oh ! 
how  it  galls  me  to  think  on’ t.  And  Jem  wouldn’t  have  me  either 
1  never  liked  as  well  as  when  so — “  I’ll  save  his  life  for  your  sake,’ 


14 


THE  LONG  STRIKE. 


said  lie,  but  I’m  too  proud  to  take  your  heart  wi’  another  man  in  it 
[Bell  strikes  five  o’clock.']  Hark  !  There  goes  five  o’clock  and  all  day 
I’ve  sat  here  waiting  for  thee,  lad.  I  can’t  bear  this  any  longer — I'll 
write  to  him  and  ask  him  to  come  to  me.  [  Writes  ]  “  Dear  Jem- 

come  and  see  me.  Jane.”  That  will  do.  [Knock,  n.  f.]  Ah!  there 
he  is.  [Brushes paper  in  hand  and  throws  on  floor.]  I — I — won’t  seem 
glad  to  see  him.  [Knock,  d.  f.]  I  won’t  ask  him  to  come  in  either. 
Past  five  o’clock— why  wasn’t  he  here  before  ?  There  he  is. 

Enter  Johnny  Reilly  with  bundle  and  stick ,  d.  f. 

Ah  !  what’s  there  ?  Why,  Johnny  Reilly,  is  it  thee,  lad  ? 

John  V  ve  come  to  say  good-by,  Jane  ;  my  ship  sails  from  Mersey 
to-morrow. 

Jane  You  have  come  here  twice  a  week  for  the  last  three  months 
to  say  the  same  thing. 

John  It  is  your  fault,  Jane,  that  I  couldn’t  get  away. 

Jane  Don’t  be  foolish,  Johnny,  I  told  you  not  to  think  of  me,  it’s 
only  wasting  good  love  that  many  another  girl  would  be  grateful  for. 

John  I  knew  that  and  I’m  not  going  to  court  ye  any  more — never 
mind  me — it’s  Jem  I  want  to  talk  to  ye  about.  .  Jem  and  me  have 
been  sweet  on  you  this  many  a  While — bout  of  us  was  bad  about  you 
— one  worse  than  the  other — but  especially  Jem.  Ah  !  a  pair  of 
honester  hearts  a  girl  never  had  to  her  back.  Many  a  night  we’ve 
spent  the  night  talking  over  you  and  swapping  minds  about  ye. 

Jane  Pulled  me  to  pieces,  you  mean  ? 

John  No  we  didn’t ;  if  we  had  I’d  ’a’  wept  a  bit. 

Jane  I’m  sorry  if  I’ve  given  you  any  pain. 

John  I’ve  got  a  cargo  of  it  aboard  and  I’d  not  part  wi'  an  ounce  of 
it  for  all  the  pleasure  in  the  world.  But  never  mind  me,  it’s  Jem  I’m 
here  about.  Oh,  Jane  dear,  what  did  you  say  or  do  to  him  last 
night  ? 

Jane  I  was  cruel  and  scarce  knew  what  I  said. 

John  Then  I’ll  tell  you.  You  broke  his  heart — that’s  all  you  did. 
You  know  we  lodge  together  ?  Well,  all  night  long  I  heard  him  walk¬ 
in’  the  deck  of  his  room  until  I  couldn’t  stand  it,  and  then  I  opened 
his  door.  He  turned  and  looked  at  me.  W hat’s  the  matter  wi’  you  ? 
says  I.  He  never  spoke,  but  I  saw  that  his  eyes  were  white,  his  lips 
turned  dim  and  'death  was  all  over  his  face.  On  the  table  before  him 
I  found  that.  [Draws  pistol  from  his  pocket  and  places  on  table. 

Jane  Oh !  f 

John  And  beside  it  I  found  that,  and  [Places  powder-flask ,  bullets, 
ilc.  on  table.]  oh,  Jane !  when  I  saw  them  things  my  heart  turned 
over  inside  me. 

Jane  As  mine  does  now. 

John  Never  mind  if  it  comes  the  right  side  up  and  turns  that  side 
to  him. 

June  Had  I  awakened  this  morning  and  learned  what  I  had  done — 

John  That’s  what  I  said  to  Jem.  Do  you  want  to  leave  Jane  a 
tfidow  at  her  time  o’  life?  Won't  she  feel  that  t  wos  herself  that 


THE  LONG  STRIKE. 


15 


murdered  you  ?  And  if  you  bring  that  shame  upon  the  girl  I  love, 
I’m  your  enemy  to  your  dying  day  says  I,  and  a  heap  more,  for  I 
passed  the  night  between  him  and  his  sorrow,  and  what  a  night  it 
was.  I  never  knew  how  much  he  loved  you — but  I  know  it  now— 
and  sure  I’m  going  away  for  his  sake,  because,  d’ye  see.  Jem  and  I 
went  shares  in  you  and  I  want  to  give  my  share  to  Jem. 

Jane  Did  he  not  tell  you  what  I  had  done  ? 

John  How  could  he  without  speakin’  against  you.  But  I  know  it 
was  mighty  bad  because  he  never  said  a  word. 

Jane  Oh  !  what  shall  I  do  ? 

John  Put  them  things  away  and  never  let  on  I  told  you  this,  and 
begged  you  to  be  kind  to  him.  His  love  is  as  proud  as  that  gun¬ 
powder,  and  would  take  fire  more  easy.  But  oh,  Jane  !  do  let  your 
heart  soften  to  him— do  dear,  and  then  if— if— you  marry  him  some 
day  when  I’m  gone,  and  you  are  happy  together— you  can  give  him, 
back  them  things  and  tell  him  what  I  have  done  for  his  sake  and 
yours.  Good-by.  I’ve  nothing  to  give  you  for  a  keepsake  except 
my  heart,  and  small  blame  to  you  for  leaving  that  behind,  because 
it  won’t  follow  me  anyhow. 

Jane  Oh  !  if  you  could,  indeed,  leave  it  with  me,  if  I  could  place  it 
here  in  my  breast  instead  of  the  frightful,  vain,  wcA’thless  thing  that 
shames  me.  I — I — do  not  deserve  that  two  such  men  should  go  to 
waste  upon  me.  [Exit  into  room  up  staircase. 

John  She’s  gone.  I  have  seen  the  last  of  her.  Let  me  take  one 
more  good  look  at  the  place  that  holds  her — good  luck  to  it.  The 
place  I’m  going  to  leave  her  in  when  I  am  far  away. 

Enter  Cranksuaw,  d.  e. 

Crank  Good  morning  !  Johnny  Reilly,  ain’t  it  ?  Now,  Noah  Lea- 
royd  wouldn’t  be  at  home,  would  he  ? 

John  D'ye  want  him? 

Crank  Not  particularly— I  can  wait  a  bit.  Hello,  what’s  here? 

John  Sugar  toys. 

Crank  Firearms.  Yours  I  suppose? 

John  No.  Jem  Starkee’s. 

Crank  Bad  companions  for  a  hasty  man. 

John  That’s  why  I  took  them  out  of  his  hands  and  brought  them 

here. 

Crank  To  show  this  girl  what  she  might  drive  him  to,  eh  ? 

John  He  is  in  sore  trouble,  but  sure,,  blowing  a  man’s  brains  out 
h’is  a  poor  way  of  giving  ease  to  his  mind. 

Crank  Hello,  has  it  come  to  this  ?  ^ 

John  If  I  had  not  been  nigh  hand  last  night  Jane  would  have  had 
one  sweet  missing  this  morning — but  that’s  what  she  s  going  to  ha\  e 
to-morrow,  anyway,  for  I  am  off  to  join  my  ship  at  last. 

Crank  I’m  glad  to  hear  it,  for  you  were  wasting  your  time  and 
money  on  Jane  Learoyd.  Why,  lad,  she’s  no  better  than  a 

John  [ Dropping  bundle .]  Don’t  say  it !  Don  t  tack  a  bad  word  to 


r 


16 


THE  LONG  STRIKE. 


my  girl’s  name  !  I  won’t  stand  by  and  let  any  man  hurt  a  letter  of 
it !  Look  in  my  eye  twice  before  you  speak  once. 

Crank  Well,  well,  good-by. 

John  Good-by.  [ Takes  up  bundle  and  exits ,  d.  f. 

Crank  I  must  warn  Mr.  Readley.  If  lie  don’t  mind,  this  girl  will 
cost  him  more  than  he  reckons  to  pay.  [Picks  up  Jane’s  letter.] 
Humph!  “  Dear  Jem— come  and  see  me.  Jane.  So  she  begins  to 
fear  she  may  push  the  poor  lad  too  far  and  now  she  will  fill  his  heart 
with  sweet  lies  and  when  his  back  is  turned  be  off  with  t’other  one. 

[Throws  letter  on  table. 

Enter  Noah,  d.  f. 

Noah  Crankshaw ! 

Crank  Don’t  be  scared,  I  come  here  as  a  friend  not  as  an  officer.  1 
am  ordered  to  help  you  to  escape. 

Noah  Escape? 

Crank  Aye,  you  and  your  mates  met  here  last  night.  There  was  a 
witness  to  that  meeting  you  little  suspected.  He  saw  and  heard  all 
that  passed  and  made  his  desposition  before  the  magistrate  this 
morning. 

Noah  It’s  a  lie  ! 

Crank  Don’t  deny  it— your  plot  to  burn  the  mills  one  by  one  are 
sworn  to.  .  Your  three  accomplices  are  already  in  custody  and  if  you 
are  not  in  jail  beside  them  on  a  capital  charge,  you  owe  it  to  your 
daughter,  who  saved  young  Readley’s  life. 

Noah  Saved  his  life  !  What  do  you  mean  ? 

Crank  WThen  he  was  hunted  by  the  mob,  he  found  shelter  here. 

Noah  No  !  no,  man  !  Not  here  ! 

Crank  Yes — I  tell  you— she  had  him  in  her  room  yonder. 

Noah  There,  there? 

Crank  And  there  he  overheard  your  doings  and  saw  you  draw  th.0 
lots. 

Noah  She— she  did  this !  She,  my  child  ! 

Crank  That  is  the  only  thing  in  your  favor.  Don’t  you  see  he 
can’t,  with  any  grace,  bring  against  you  what  he  discovered  whilst 
she  was  saving  his  life. 

Noah  So  I  am  allqwed  to  creep  away  whilst  they  are  in  prison  suf¬ 
fering  for  my  doings  ? 

Crank  Readley  will  take  care  of  you,  for  he  is  Jane’s  sweetheart. 

Noah  My  Jane — his — 

Crank  Don’t  be  hard  upon  him.  He  has  been  an  admirer  of  herg 
for  a  long  time.  You  may  thank  his  love  for  her  that  you  are  safe. 
De  will  find  the  money  for  you  to  escape  at  once.  Jane  is  to  meet 
him  to-night  when  all  will  be  arranged.  There’s  a  letter  he  gave 
me  for  the  girl.  [Puts  letter  on  table.]  Take  my  advice,  Noah,  I’ve 
known  you  a  good  many  years  and  I’d  be  sorry  to  find  you  in  my 
hands,  where  you  will  be  if  you  don’t  quit  Manchester  at  once,  and 
for  the  girl  s  sake,  take  her  wi’  ye  or  she’T  get  into  more  trouble. 
Good  evening  r Exit.  d.  f. 


THE  LONG-  STRIKE. 


IT 


Noah  [ Sinks  into  chair.]  My  child— my  flesh  and  blood — hns  paia* 
monr?  It  was  for  this,  then,  she  locked  him  in!  ’Tvvas  for  this 
that  she  betrayed  the  cause  we  have  starved  for — we  have  prayed  tor! 
They  are  in  prison  asking  one  another,  where  is  Noah  Learoyd  ? 
There — don’t  you  see  him— skulking  behind  his  daughter? — livin’ 
on  her  shame  ?  She  is  to  meet  Headley  to-night !  [Rises— sees  pistol 
on  table.]  Ah!  what’s  this?  [Takes  up  pistol.]  Their  fate  hangs  on 
Headley’s  breath.  No  breath  of  his  shall  ever  testify  against  them. 
[Loads  pistol.  Music  p.]  Now,  dinna  ye  see  why  free  ?  ’ Tis  to  scotch 

the  snake,  lads— to  scotch  the  snake. 

[He  loads  pistol,  using  the  letter  Jane  has  ivritlen  to  Jem  Starkee  for  wadding . 

[Music  continued  till  change. 


SCENE  H.  —  Whiting  Street.  Plain  English,  1. 

Enter  Jem  Starkee,  followed  by  Jack  O’ Bobs,  Tom  O’ Bills,  Susan  Mag¬ 
gie,  and  all  the  mill  hands  murmuring,  r.  1  e. 

Jem  My  lads,  I  dinna  hold  wi’  ye. 

Tom  They  have  sent  our  delegates  to  prison  for  talkin’  our  part— 
standin’  oop  for  the  people. 

Jack  Our  men  have  been  thrown  into  prison,  and  for  what  ?  Why, 
for  standing  up  for  the  workin’ man’s  rights.  Well,  we’ll  tear  it  down 
stick  and  stones  but  we’ll  have  them  out.  Aye,  that  we  will. 

Omnes  Aye,  that  we  will — give  us  our  men  ! 

Tom  We  have  right  wi’  us,  lads — now  let  us  show  ’em  we  have 
might  on  our  side  as  well. 

Omnes  Aye,  aye ! 

Jem  Stop,  lads.  Why,  what  are  thee  going  to  do  ?  See  thee,  lads, 
there  have  been  many  a  strike  in  Manchester— men  have  starved,  and 
women  and  babies  have  gi’  ’em  up  and  died,  but  no  blood  has  stained 
our  cause — no  act  can  be  recorded  against  us  that  makes  the  honest, 
workmen  turn  back  with  shame.  If  the  masters  be  wrong  don’t  let 
us  be  on  the  other  side — two  wrongs  don’t  make  a  right. 

Tom  What  right  have  they  to  be  ricKn’  in  their  carriages  while  we 
ha’  not  bread  to  eat? 

Omnes  Aye,  ayo ! 

Tom  Why  do  they  waste  what  we  want? 

Jem  What  right  have  you  to  be  walkin’  about  in  health  and 
strength  when  so  many  lie  sick  abed?  Why  don’t  ye  gic  a  coat  to 
a  beggar  and  share  your  bed  wi’  ( he  tramp  ? 

Tom  Because  I  ain’t  got  a  coat,  and  I’vO  got  a  urife. 

Omnes  Ha  !  ha  !  ha  ! 

Jem  Well  said,  Tom— get  thee  home,  then— and  there,  lads,  there  a 
all  I  have  to  share  among  ye— fill  your  mouths  with  something  bet¬ 
ter  than  wild  words — [Gives  money.]  get  thee  home,  and  good  night. 

[Music.  All  exit ,  shouting ,  r.  1  e. 

Jem  Poor  lads,  how  bright  their  sorrow  seems  beside  mine 


IS 


THE  LONG  STRIKE. 


Enter  Johnny  Reilly,  l.  1  e. 

Jem  Oh,  Johnny,  but  I’ ve  waited  sorely  for  thee,  lad  Thou  hast 
Been  her? 

John  Aye,  I've  seen  her — I’ve  said  good-by. 

Jem  And  did  she  sorrow  any  at  parting  wi’  ye  ? 

John  For  my  sake  she  did,  not  for  her  own.  I  didn’t  mane  to  hurt 
ye,  but  I  couldn’t  help  it. 

Jem  Just  what  she  said  to  me.  Johnny,  lad,  I’ve  made  up  my 
mind  I  can  not  stop  here  ;  I’m  going  wi’  thee. 

John  W  i’  me  ? 

Jen  Aye,  wherever  your  ship  is  bound — anywhere — it  don’t 
matter. 

John  Are  you  going  to  desert  the  girl  only  because  she  does  not 
love  you  ?  Are  you  going  to  leave  her  in  trouble  and  want,  wid  a 
bad  man  in  her  head  and  a  devil  stirring  in  her  pocket. 

Jem  What  can  I  do  ? 

John  Stand  by  her  like  a  man — work  for  her  if  she  wants  it  and 
see  that  the  blackguard  she  loves  treats  her  well.  That’s  what  one 
cf  us  must  stop  to  do,  and  you  must  be  the  one. 

Jem  Oh,  Johnny,  thou  art  more  worthy  of  her  than  I  am. 

John  May  be  that’s  why  I’ve  so  little  chance,  bad  luck  to  me. 

Jem  I’ll  remain  then. 

John  Good-by  then. 

Jem  Nay,  we  munna  part  so,  I’  11  go  wi’  thee  as  far  as  the  station 
and  see  the  last  of  thee. 

John  Thank  ye,  Jem,  I’m  not  going  to  Liverpool  by  rail. 

Jem  How  then  ? 

John  You  see  I’ve  been  idling  about  Jane  for  the  last  five  months 
until  I  spent  every  shillin’  of  my  pay ;  then,  bit  by  bit,  I  sold  every¬ 
thing  I  had,  till  devil  a  thing  I  have  bat  what  I  stand  up  in. 

Jem  Nay,  I  can  gi’  thee  a  trifle  I  have  at  home. 

John  Never  fear,  Jem,  I’ve  a  shipmate  keeps  the  “  Load  of  Hay  ” 
public  house,  t’other  side  of  Prescote,  That’s  not  four  and  twenty 
miles  from  here  and  it  is  a  fine  night  for  a  walk.  I’ll  reach  his  place 
by  six  in  the  morning.  There  I’ll  find  all  I  want  and  welcome,  so 
good-by  and  bless 'thee,  Jem. 

Jem  Nay,  then  I’ll  walk  wi’  ye  as  far  as  Fox  Hill ;  it’ll  lightenin’ 
the  road  a  bit. 

John  And  we’ll  talk  of  her?  \Exi%  50  1  e 

Enter  Jane,  with  letter ,  l.  1  e. 

June  Who  brought  this  letter?  How  came  it  where  I  iovh’dt ? 
[Read*.]  “ My  dearest  Jane—  Meet  me  to-night  in  Fuller’s  ' 

tiie  gate  behind  my  house  I  must  see  you!  Richard  Rcrdiey.’' 
Yes,  I  will  go  and  meet  him  for  the  last  time.  I’ll  be  honest  with 
him.  I  dreamed  that  I  loved  him  and  I  have  just  awoke  to  find 
there  is  nothing  real  or  true  in  it,  and  then  I’ll  go  to  Jem  and  ax 
his  pardon — I’ll  be  honest  wi’  him  too,  and  let  my  heart  out  to  him 


THE  LONG  STRIKE. 


19 


Th  <inr  if  he  will  ha'  me — if— eh  ! — don’t  I  know  he  will  -I’m  foolin' 
with  myself.  [Exit  r.  1  e.  Music. 

Enter  NoAn  Learoyd,  stealthily ,  with  pistol,  l.  1  e.  ,  following  Jane, 

Noah  She  is  going  to  meet  wi’  young  lleadley  now !  [Exit,  l.  1  e. 

CHANGE  SCENE. 


SCENE.  III. —  Fuller's  Lane,  with  Headley’s  house  and  garden;  entire 
stage;  set  house,  with  garden  wall  in  front,  l.  2  e.,  running  to  3 rd  entrance 
behind  wall ;  some  real  fir-tree  raised  so  as  to  show  over  wall.  Running 
obliquely  from  r.  2  e.  to  L.  4  e.  ,  is  a  low  stone  wall  about  2  feet  high,  be¬ 
hind,  which  is  placed  real  fir-trees  to  represent  hedge  ;  near  the  upper  end  of 
hedge  a  passageway  through  ;  a  view  of  the  mills  at  back  illuminated  ;  time, 
night ;  lights  down  ;  lime  light,  r.  2  e.,  for  moon  ;  practical  gate  in  garden 
wall. 

Enter  Crankshaw  from  behind  house,  l.  u.  e.,  w ith  bidls- eye  la n tern .  Enter 

Tom  O’ Bills,  singing,  l.  u.  e. 

Tom  This  is  a  fine  night.  [To  Crankshaw.]  Will  you  give  me  a 
light  for  my  pipe  ?  These  are  hard  times !  What  o’clock  is  it  ? 

Crank  [Gives  light.']  Never  you  mind.  Move  on,  move  on. 

[Exit  Tom,  singing,  r.  1  e. 

Headley  appears  at  garden  gate. 

Read  Is  that  you,  Crankshaw  ? 

Crank  All  is  right,  sir. 

Read  Has  she  come  ? 

Crank  Here  she  is  coming  up  the  lane. 

[Looks  off  l.  u.  e.  Exits,  l.  u.  e. 

Read  Now  this  little  coy  beauty  must  surrender  at  discretion.  She 
can  scarcely  escape  the  toils  she  has  woven  for  herself. 

Enter  Jane,  l.  u.  e. 

My  dear  little  torment,  how  shall  I  thank  you  for  this  delightful 
interview  ? 

Jane  Don’t  speak  to  me  like  that,  if  )’Ou  '  lease,  Mr.  Headley,  I 
can’t  hear  such  words  from  you  any  more. 

Read  Come,  don't  be  a  little  fool,  Jane. 

Jane  No  sir,  I  will  not  be  if  I  can  help  it,  for  I  have  been  very 
foolish,  or  worse,  may  be,  and  that’s  what  I’ve  come  to  tell  you,  sir. 
When  first  you  showed  a  fancy  for  me  I  was  vain  enough  to  think  that 
1  deserved  to  be  a  lady.  I  believe  I  did  not  rightly  know  my  own 
mind,  but  now  I  do  it,  and  I  do  not  wish  to  keep  company  with  you 
any  more.  I  humbly  beg  your  pardon,  sir,  if  1  led  you  to  think  too 
much  of  me. 

Read  Jane,  you  are  in  jest. 

Jane  I  have  been  wrong,  very  wrong,  to  lead  you  to  think  I  liked 


20 


THE  LONG  STRIKE. 


you,  but,  indeed,  sir,  I  am  in  earnest  when  I  say  that  to-night  is  the  . 
last  time  I  will  ever  speak  to  you. 

Read  And  what  has  made  this  change?  Have  I  done  anything  to 

offend  you  ? 

Jane  No,  I  can’t  lay  any  blame  on  you,  Mr.  Readley,  it  is  all  my 
fault,  and,  as  1  sail  before,  I  beg  your  pardon,  if  I  have  done  any 
wrong  by  you.  and  now,  sir,  if  you  please,  good  night. 

Read  But  I  don’t  please.  [Catches  her.]  You  shan’t  go  till  you  tell 
me  how  I  have  vexed  you. 

Jane  Oh.  let  me  go !  you  can  not  change  my  mind  !  Oh,  sir,  why 
do  you  hold  me?  Oh,  do  let  me  go  ! 

Read  Not  till  you  tell  me  what  is  the  matter  with  you. 

Jane  [ Facing  him.]  Well,  if  you  will  know  why  I  won’t  have  any¬ 
thing  more  to  do  with  you,  it  is  that  I  can  not  love  you. 

Read  Not  love  me? 

Jane  No.  I  have  tried  and  I  ready  can  not. 

Read  You  little  coquette,  and  when  did  you  find  that  out? 

Jane  Last  night  when  I  found  1  loved  another  man — the  honest 
lad  that  had  courted  me  ever  sin’  I  was  a  child,  and  whom  I  was  vain 
enough  to  leave  for  you. 

Read  And  you  discovered  all  this  since  last  night? 

Jane  I  felt  there  was  something  wrong  the  matter  wi’  me,  and  I  find 
that  it — I  can  never  be  you  wife. 

Read  My  wife  ? 

Jane  Your  wife.  I  am  sorry  I  ever  led  you  to  think  I  would  be. 

Read  Ha'!  ha!  ha!  My  wire!  My  dear  girl,  I  never  comtem- 
plated  imposing  matrimony  upon  you. 

Jane  What?  You  did  not  mean — to  make  me — to  marry  me? 
Oh  !  i  am  obliged  to  you  for  lettin’  me  know  that !  That’s  a  great 
relief!  When  I  thought  you  loved  me  i  did  feel  sorry  and  humbly 
begged  your  pardon.  That  was  before  1  knew  what  you  are.  Now 
1  owe  you  naught. 

Read  Aye,  but  you  do  though — you  owe  me  your  father’s  life. 

Jane  What  do  you  mean  ? 

Read  Last  night,  while  hidden  in  your  chamber,  I  heard  your 
father,  and  those  with  him,  plan  to  commit  a  felony.  This  morning 
I  denounced  bis  accomplices — they  are  now  in  prison.  Him  alone  I 
spared  for  your  sake. 

Jane  No.  no — not  for  my  sake  only,  but  for  your  own.  ’Twas  I 
who  placed  you  there  —’twas  I,  then,  who  betrayed  him  and  these 
men. 

Read  If  I  appear,  as  I  tin  bound  to  do,  to-morrow  morning,  before, 
the  magistrates,  no  influence  of  mine— no  power  can  save  him. 

Jane  And  no  power  can  hinder  my  father  from  taking  Ins  place 
beside  them  if  he  ain’t  done  it  already — ye  dunna  know  him.  Oh, 
sir,  canna  ye  do  something  to  spare  me  this?  It’s  my  father’s  life, 
his  blood  may  be,  that  I  have  to  answer  for.  Oh  !  what  lia’  I  done? 
What  ha’  1  done  ? 

Read  Yes,  I  can  do  something— I  can  abandon  the  prosecution — 


THE  LONG  STRIKE. 


21 


but  to  do  so,  I  must  leave  Manchester  to-night  so  that  when  I  am 
called  to-morrow  I  shall  be  missing. 

Jane  Aye,  aye ! 

Read  And  you  must  be  missing  with  me. 

Jane  I  do  not  understand  you. 

Read  Jane,  dearest,  I  can  not  part  with  you.  Teil  me  you  were 
but  joking  when  you  said  you  found  you  could  not  love  me.  You 
have  fostered  a  passion  which  you  will  not,  can  not  trifle  with. 

Jane  Stop !  1  understand  you  now.  Speak  plain,  man.  It  is  a 

bargain  you  offer  me  You  want  me  to  sell  myself  against  my 
father’s  life. 

Read  ’Tis  you  who  drive  me  to  this  base  extremity.  If  I  am  des 
perate  with  a  passionate  love,  blame  your  own  beauty  with  which 
you  tempted  me. 

Jane  Oh  !  what  are  ye  man,  that  puts  a  child  in  such  a  straight? 

Read  I  am  what  you  have  made  me.  Fortune  has  given  this 
power  over  your  inclination  and  I  love  you  too  deeply  not  to  use  it. 

Jane  In  the  toils!  I  am  in  the  toils!  I  must  be  my  father’s 
murderer  or  this  man’s — no  !  no  !  you  will  have  pity  on  me  !  I  bad 
rather  die  !  I  would — I  would — I  saved  your  life !  Spare  mine  i 
oh  !  hear  me ! 

Read  [Embracing  her  and  drawing  her  up  stage.]  No,  dearest,  not  a 

word. 

\A  shot  is  fir ed  through  the  hedge ,  r.  h.  ;  Readley  utters  a  cry ,  throws  up  arms, 

reels  back  and  falls ,  l.  c.] 

Jane  [ Screaming .]  Help  !  help  !  help  !  [Falls  fainting ,  r.  h. 


Enter  Crankshaw. 


Crank  That  sounded  like  the  report  of  firearms.  What’s  here? 
[Throws  ligld  from  lantern  on  Readley.]  Ah  !  sure  enough— sure 
enough  !  '  [Policeman  outside  springs  rattle. 

Enter  Policeman  hastily,  through  hedge.  Enter  Brooke,  and  Aspin wall, 
and  mill  hands,  l.  u.  e.  and  r.  1  e.  ;  Servants  from  house  with  lighted 
candles. 

Brooke  What’s  the  matter? 

Crank  Only  a  murder,  that’s  all. 

Omnes  Murder ! 

Aspiit- Who  has  done  this? 

Crank  Perhaps  that  girl  can  tell  us  when  she  comes  to.  Go  and 
fetch  a  shutter  or  a  leaf  of  your  dining  table,  and  one  of  ye  run  for  a 
doctor.  I’m  afraid  it’s  no  use — come,  be  handy.  [To  crowd  pressing  on.] 
Come  now,  move  on  now.  There  [To  Police.]  keep  the  crowd  oii  the 
ground.  Bill ,  keep  the  crowd  back.  [Music 


curtain. 


22 


THE  LONG  STRIKE. 


ACT  III. 

SCENE  I. — Fuller's  Lane.  Readley’s  house  same  as  in  Act  2 nd,  Scene  3rd. 

A  emit  age  near  gate  ;  Crankshaw  examining  ground  with  bulls-eye  lantern  \ 
Brooke  near  home  ;  Policeman.  All  discovered  at  rise.  Music. 

Arm  Can  you  find  no  trace  ?  Eh  ? 

Crank  No,  sir,  I  am  inclined  to  believe  the  girl  knows  more  about 
it  than  she  chooses  to  confess. 

Arm  Her  story  seemed  to  be  a  truthful  but  reserved  confession. 
However,  when  she  has  recovered  sufficiently  she  will  able  to  explain 
the  circumstances  more  clearly. 

Brooke  Here  she  is. 

Enter  Jane,  l.  u.  e.,  behind  house. 

Arm  Come  here,  my  girl,  and  do  not  be  afraid. 

Brooke  We  do  not  connect  you  in  any  manner  with  this  dreadful 
crime,  and  it  is  but  right  to  inform  you  that  you  are  not  compelled  to 
answer  any  questions  we  may  ask  you. 

Jane  Thank  you,  sir — I  don  t  see  why  I  should  fear  answering  any¬ 
thing  about  it. 

Brooke  Where  did  you  stand  when  the  fatal  shot  was  fired  ? 

Jane  There  ;  and  he,  as  it  might  be,  beside  me.  He  was  moving 
toward  the  gate. 

Crank  There  was  no  one  in  sight?  No  one  near  you  while  you 
and  Mr.  Readley  were  talking? 

Jane  No  one.  It  came  all  of  a  sudden. 

Arm  From  which  side  ? 

Jane  [ Points  back .]  I  couldn’t  tell.  Somewhere  behind  me. 

Arm  The  position  of  the  wound  agrees  with  that  supposition,  but 
if  the  assassin  stood  there  you  must  have  seen  him. 

Jane  But  I  did  not,  indeed,  sir;  I  only  saw  a  flash  and  heard  the 
shot. 

Crank  I  have  it,  Bill,  we  have  been  on  the  wrong  scent  searching 
the  lane— thci  girl  was  right— the  shot  was  fired  through  the  hedge— 
our  man  was  in  the  field — come  this  way. 

[Exit  Cranksiiaw,  followed  by  Policeman,  over  sti*.. 

Arm  You  have  exhibited  so  much  candor  and  proper  feeling 
throughout  this  painful  affair  that  I  may  venture  to  ask  you  another 
question.  Do  you  entertain  any  suspicions  as  to  the  person  who 
committed  this  deed  ? 

Jane  No,  sir  ;  Mr.  Readley  had  many  enemies. 

Crank  I  Outside .]  Here  we  have  it. 

Arm  They  have  some  clue. 

Crank  [Outside.~\  Stay  there,  Bill,  while  I  go  on  t’other  side. 

Enter  Crankshaw  over  stile. 

We  have  discovered  the  nest,  sir.  There  it  is,  plain  enough.  We 


THE  LONG  STRIKE. 


28 


cam  trace  the  mouli  of  a  man  from  where  he  lay  among  the  long 
grass  in  the  ditch  close  against  the  hedge.  Come,  Jane,  you  and  I 
know  who  it  was  that  lay  on  the  watch? 

Brooke  The  girl  says  she  has  no  suspicions. 

Crank  Hain’t  she?  Well,  I  have — 

Enter  2nd  Policeman,  r.  1  e. 

— and  I  sent  this  officer  to  make  sure.  Well,  have  yoa  been  to  his 
house  ? 

2nd  Policeman  Yes,  and  he  hasn’t  been  home  all  night. 

Crank  I  thought  not.  All  right,  gentlemen,  we  have  spotted  the 
man  we  want.  * 

Jane  Not  him !  Not  him  !  Why,  he  saved  Mr.  Readley’s  life  two 
days  ago ! 

Arm  Who? 

Jane  James  Starkee. 

Crank  I  never  said  it  was  he. 

Brooke  Who  is  this  fellow  ? 

Crank  I  never  said  ’twas  he.  He’s  the  girl’s  sweetheart.  I’m 
main  sorry  for  thee,  Jane. 

Jane  I  wouldna’,  I  canna’  believe  it,  for  I  ha'  seen  them  together, 
and  Jem  would  not  hurt  a  hair  of  his  head. 

Crank  Wouldn’t  he?  I  saw  them  together  t’other  night  at  Mil- 
gate,  where  I  interfered.  Jem  swore  he’d  find  Mr.  Readley  some¬ 
where  when  no  policeman  should  get  between,  and  it  seems  that  he 
has  kept  his  word. 

1st  Police  [ Outside .]  Hello,  over  there. 

Crank  Well,  what  now? 

Is?  Police  [ Outside .]  There  is  something  in  the  hedge  there,  some¬ 
thing  bright. 

Crank  Something  bright?  I  don’t  see  it. 

Is?  Police  [Odside.]  Move  to  your  light. 

Crank  I  see  it  now.  [Draws  pistol  from  hedge.]  Oh  !  I  think  I’ve 
seen  this  article  before. 

Brooke  A  pistol — evidently  the  one  the  deed  was  committed  with. 

Crank  I  say,  Jane,  it  ain’t  the  first  time  you  seed  this  weapon,  eh  ? 
[Holds  up  pistol.]  You  have  some  suspicions  now?  There,  lass,  it  is 
only  natural  you  should  like  to  shield  him.  This  is  Jem  Starkee’s 
pistol,  sir,  I’ve  reason  to  know  it.  ’Tis  plain  he  dodged  the  girl,  and 
she  led  him  here. 

Enter  1st  Police,  over  stile. 

Is?  Police  I  found  this  bit  o’  paper  yonder. 

[Hands  small  piece  of  black  and  half  burned  paper  to  Cranksiia  w. 

Crank  ’Tis  the  wadding  of  the  pistol— see,  it  is  blackeued — 
p<per.]  and  with  gunpowder,  and  half  burned  away. 

Arm  [Taking  paper  and  examining  it  by  Cranksiiaw’s  lantern.]  Ah  I 
’tis  part  of  a  letter.  [Reads.]  “Dear  Jem- Come  and  see  me." 
The  signature  is  wanting. 


24 


THE  LONG  STRIKE. 


Jane  [ Hiding  face.]  It  is  mine — ’twas  I  wrote  it — but  he,  Jem, 
never  received  it — never ! 

Arm  Then  how  came  it  here  ? 

Jane  I  do  not  know. 

Arm  The  evidence  is  all  sufficient. 

Brooke  Immediate  steps  should  be  taken  to  secure  this  man— lie’s 
no  doubt  hiding  away  and  may  escape. 

Arm  This  girl  had  better  be  detained  until  the  inquest  is  over. 

Crank  I’d  rather  let  her  go,  if  you  please,  sir. 

Jane  Oh  !  do  not  keep  me  !  Do  not  keep  me ! 

Arm  Very  well,  I  presume  that  you  know  where  to  find  her  when 
her  evidence  is  required. 

Crank  All  right,  sir.  [Jane  exits,  l.  u.  e.  To  Policeman.]  Follow 
her,  Bill,  and  when  she  lights  on  Jem  Starkee,  pop  the  word  to  the 
station  ;  I  shall  be  ready  with  warrant  by  that  time.  You  see,  gen¬ 
tlemen,  she  is  the  bait  with  which  we  must  catch  our  man. 

[Exit.  Policeman  and  Brooke  go  up  stage  as  scene  is  dosed  in. 


SCENE  II. — Mitigate  Lane — same  as  Scene  2 nd,  Act  ls£. 

Enter  Jack  O’ Bobs,  l.  1  e.,  meeting  Maggie  and  three  Female  Operatives 
who  enter ,  r.  1.  e.  Music  p.  at  change. 

Maggie  Well,  lad,  is  it  thee  ?  Is  it  thee  ? 

Jack  Aye,  lass,  all  the  town  is  astir  wi’  it. 

Maggie  I  see  thee,  lad.  I  don’t  mind  thro  win’  a  brick  through  a 
pane  o’  glass  or  distroyin’  a  man’s  jacket  in  a  nob  stick,  but  when  it 
comes  to  shootin’  or  staffin’,  I  don’t  hand  wi’  thee.  For  my  part,  I 
be  going  back  to  work,  whether  I  get  paid  or  not. 

Omnes  So  be  I — so  be  I !  [Exit  omnes  but  Jack,  r.  1  e. 

Enter  Tom  O’ Bills  and  four  Male  Operatives,  l.  1  e.;  crosses  to  r.  1  e. 

Jack  Where  be  thee  going,  lads  ? 

Tom  We  be  going  back  to  work.  The  strike  be  at  an  end,  and  we 
be  main  glad  of  it.  Come,  lads,  let’s  to  work. 

[Exit  all  but  Jack,  r.  1  e. 

Enter  Jem  Starkee,  l.  1  e.,  looking  off. 

Jem  Why,  what  has  come  to  Manchester  since  I  left  it  last  night . 
The  folks  look  scared  and  hold  down  their  heads  as  if  ashamed  like. 
[Turns  and  sees  Jack.]  What  be  the  matter,  Jack  ? 

Enter  Gentleman  from  London ,  ivith  carpet-bag ,  r.  1  e. 

Jack  The  strike  be  at  an  end.  The  people  are  going  back  to  work 
by  thousands,  just  to  show  they  have  no  hands  in  this  business. 

Jem  W  hat  business  V 

Jack  Why,  Mr.  Readiey’s  murder. 

*  Jem  What  ? 

Jack  Don’t  you  know  that  Readley  was  shot  last  night  in  Fuller’ 8 


THE  LONG  STRIKE. 


26 


IianeT  i  thought  you’d  a  known  it.  Why,  all  the  city  is  talking 
about  it.  She  is  in  custody. 

Jem  She?  Who? 

' -xck  Jane  Learoyd  ! 

Jt, 1  She — Jane  killed  him? 

Jack  Nay,  but  him  and  she  was  there  together  in  the  lane  last 
night,  courting,  they  say,  when  the  shot  was  fired.  The  policeman 
found  young  Readley  dead  and  Jane  by  his  side  in  a  faint. 

Jem  Where  do  you  hear  of  this? 

Jack  Everywhere — there  be  a  grand  crowd  now  all  about  Noah’s 
door.  I  jist  ooom  from  there  but  I  could  not  get  in,  hut  the  folk  out¬ 
side  told  me  the  old  man  was  found,  this  morning,  lying  stark  on  his 
face  across  his  own  doorstep,  and  when  he  coom  to  they  could’ na 
Bense  him  but  he  sat  up  crazy  like.  See — here  he  be.  [Music  p. 

0 

Enter  Noah,  r.  1  e.  ,  followed  by  Maggie,  Susan  and  other  female  operatives. 

Susan  Come,  come,  Noah— go  home,  man. 

Jem  Stand  back,  there.  Noah,  man,  is  it  true?  Where  is  Jane? 

Noah  [Grazed.']  Jane — Jane — in  Fuller’s  Lane  wi’  young  Readley. 

Jem  Don’t  you  know  me,  Noah?  Jem — Jem  Starkee? 

Jack  He  sees  ye,  but  his  brain  is  blind  ;  his  lassie’s  shame  has  broke 
the  old  man’s  heart. 

Omnes  Aye,  aye — that’s  it. 

Jem  Leave  me  wi’  him — I’ll  take  care  of  him. 

Omnes  Poor  man — heaven  help  him. 

[Exit  all  but  Starkee  and  Noaii,  r.  1  e. 

Jem  Poor  shattered  vessel.  And  has  she  brought  ye  to  this?  Oh, 
JaDc,  Jane  !  but  thou  art  fatal  to  all  who  love  ye  ! 

Enter  Jane,  breathless,  l.  1  E. 

Jane  Jem,  I’ve  found  thee  at  last — lose  no  time  to  escape. 

Jem  Escape? 

Jane  Already  the  warrant  is  out  against  thee. 

Jem  What  for  ? 

Jane  They  say  ’twas  thee  that  killed  young  Readley. 

Jem  They  lie  that  say  it.  I  was  far  away  from  your  guilty  meet¬ 
ing. 

Jane  Thank  heaven  he  suspects  me,  for  now  I  am  sure  he  was  not 
there.  Had’st  thou  been  there,  Jem,  thou  had'st  known  I  have  no 
cause  to  blush  for  what  I  saw  or  did.  Father,  thou  knowest  well  thy 
life  was  in  Readley’ s  power. 

Noah  [Grazed.]  Hide  in  my  house  in  her  room,  where  she  locked 
Lf.ai  in. 

Jem  [Oosscs  to  Noah.]  Look  there,  Jane,  over-much  sorrow  has 
crazed  the  old  man.  He  is  spared  the  sense  of  the  shame. 

Jane  Father  !  father  !  speak  to  me  !  look  at  me  !  1  am  thy  child, 

dear ! 

Noah  Yes,  in  Fuller’s  Lane— there  -there  they  are  together.  C  ome, 


26 


THE  LONG  STRIKE. 


I’ll  show  a  spot  where  we  can  hide.  There  they  are — see — see  my 
child — his  paramour  ? 

Jane  Ah  !  he  accuses  me  !  No— I  have  been  foolish  but  not  guilty 
Indeed,  indeed,  father,  I  have  not.  I  am  helpless,  for  I  can  not 
prove  what  passed  between  us  in  the  lane.  None  but  that  guilty 
wretch  who  committed  this  crime  can  testify  that  I  am  innocent 
Oh  !  heaven  grant  that  he  may  be  brought  to  justice  ! 

Noah  Hush — quiet— they  are  together — they’ll  hear  ye. 

Jane  Father,  father ! 

Noah  Come,  we’ll  hide  in  the  hedge  by  the  ditch. 

Jane  [ Recoiling .]  Oh  ! 

Noah  Plan  to  commit  a  felony — denounced  his  comrades — they  are 
in  prison— him  I  spared  for  father’s  sake. 

Jane  Merciful  heavens ! 

Noah  It’s  a  bargin  ye  offer — speak  plain  !  Sell  myself  against  my 
father’s  life  ? 

Jane  My  words — my  words  to  Readley  in  the  lane  ! 

Noah  What  a  man  are  ye — put  a  child  in  such  a  straight. 

[Imitates  firing  pistol. 

Jane  'Twas  he  !  ’Twas  he  !  There — he  killed  him  ! 

Jem  He  killed  him  and  for  thy  sake  ! 

Jane  Oh  !  Jem,  Jem  !  He  is  guilty  ! 

Jem  But  thou  art  innocent !  [ Embraces  Jane. 

Enter  Cranksiiaw,  r.  1  e.,  with  Policeman,  who  carries  handcuffs. 

Crank  This  is  a  bad  business,  lad. 

Tern  Yes. 

Crank  [Crosses  l.  ii.]  It  is  fortunate  that  you  were  not  hereabouts. 

Jem  Aye  !  I  was  a  good  mile  from  the  place  when  it  happened. 

Crank  At  home,  eh  ?  Sound  asleep  in  bed  ? 

Jem  No.  I  was  wi’  a  friend  journeying  to  Liverpool.  I  never  left 
him  till  after  midnight. 

Crank  That’s  lucky  for  you.  Of  course,  he  can  prove  all  that  when 
the  time  comes. 

Jem  What  time  ? 

Crank  Your  trial  for  the  murder  of  Mr.  Readley.  You  a*e  nay 
prisoner.  [Signs  Policeman,  who  handcuffs  Jem. 

Jane  Father,  see.  they  take  him  to  prison. 

Jem  What  does  thee  mean?  Hold  thy  peace,  Jane. 

Jane  No,  I  canna  see  it !  I  will  not  not  stand  by  !  Hold  ye  hands — 
1  know  who  did  the  deed  !  Oh  !  Jem,  Jem  !  I  canna  see  them  take 
thee  !  Father,  father  !  speak  !  Tell  them  he  is  not  guilty  !  Yon 
know  he  did  not  kill  young  Readley  ! 

Noah  Done  it  ?  W  ell,  it  was — 

[Jane  places  her  hand  across  his  mouth. 

Jane  No,  no — come  away.  [Forces  Noah  off ,  r.  1  e. 

Crank  There,  lad,  I’ll  throw  my  handkerchief  over  the  irons,  and 
nobody  need  know  our  business.  There,  come  along. 


THE  LONG  STRIKE. 


27 


Jem  Thanks,  thanks. 

[ Exeunt  l.  1  e.  Crankshaw,  Policeman  and  Jem 

CHANGE  SCENE. 


SCENE  III  — Moneypenny’s  library  in  3  box  scene;  doors  n.  and  l.  2  e.  \ 
table  and  arm  chair ,  c. ,  three  other  chairs  flat ;  writing  materials  and  news « 

paper. 


Enter  Moneypenny  in  overcoat ,  hat  and  comforter ,  with  umbrella  and  lawyer's 

bag ,  l.  2  e.  Takes  off  coat,  etc. ,  places  them  on  chair  against  flat,  looks  at 

watch. 

Money  Halfpast  eight.  No  more  business  to-day.  I’ve  been  in 
court  since  nine  o’clock  this  morning.  Betsey,  Betsey !  you  may 
close  the  office  !  (Wife  at  table. 

Enter  Betsey,  r.  2  e.,  with  kerosene  lamp  lighted,  with  shade.  Places  it  on 

table. 

Betsey  If  you  please,  sir,  there’s  been  a  young  person  here  three 
times  to  see  you.  I  believe  she’s  hanging  about  the  streets  still. 

Money  I  can’t  see  any  young  person  at  this  hour.  Tell  her  to  call 
at  nine  to-morrow  morning.  [Bell  rings  at  prompt.]  Ah!  that  is  your 
young  person,  I  suppose?  [ Exit  Betsey.]  Why  don’t  they  pass  a 
ten-hour  bill,  for  lawyers’  clients  have  no  conscience.  How  many  of 
mine,  I  wonder,  would  take  six-and-eight  to  be  rung  up  from  a  com¬ 
fortable  nap. 

Enter  Betsey,  r.  2.  e. 

Money  Well  ? 

Betsey  I  told  her  what  you  said,  sir — that  she  should  call  to-morrow 

morning. 

Money  That  satisfied  her,  I  suppose  ? 

Betsey  No,  sir,  she  is  still  sitting  on  the  doorstep. 

Money  I  can’t  help  it.  Let  her  come  in  office  hours.  Well,  well, 
what  did  she  say  ? 

Betsey  She  made  no  reply  but,  too  late,  too  late.  I  left  her  sitting 
there  hard  enough. 

Money  If  this  is  to  go  on  I  might  as  well  put  up  a  night-bell  like  a 
doctor,  or  a  bullseye  blood  shot  wide  open  all  night  to  show  I  never 
close  mine.  No,  L  have  earned  a  quiet  evening,  and  I  mean  to  have 
it.  Get  me  a  nice  cup  of  tea. 

Betsey  Yes,  sir.  [Exit,  r.  1  e. 

Money  Now  I  dismiss  the  cares  of  the  world  without.  I'll  not 
think  of  anybody’s  business  but  give  myself  up  to  enjoyment.  That 
girl  has  gone  away— of  course  she  has  ;  what  fools  women  are  now. 
What  earthly  satisfaction  could  be  derived  from  sitting  down  upon 
a  cold  doorstep  to  cry  ?  not  that  it  matters  to  me  if  she  were  to  stop 


28 


THE  LONG  STRIKE. 


there  all  night.  Fancy  my  going  out  in  the  morning  and  finding  hci 
there  still.  Pooh,  nonsense  ;  wliat’s  in  the  paper  to-night  ?  [: Takes  up 

paper  and  ■reads.']  “  Latest  from  America.”  What  did  she  mean  by 
too  late?  If  I  had  said  it  was  too  late  there  would  have  been  some 
sense  in  it.  [Reads.]  “  Negotiations  for  peace.  Fall  in  the  rate  of 
discount.”  I  wonder  if  that  girl  is  out  there  still  ?  What’s  the  use 
of  her  stopping  out  there  ?  Betsey ! 

Miter  Betsey,  r.  2  e. 

Just  see  if  that  girl  is  gone,  will  you? 

Betsey  Yes,  sir.  [Exit,  r  2  e. 

Money  I  wager  she  is  there.  It  is  some  one  who  is  in  a  scrape  and 
got  no  money  to  pay  costs  ;  send  a  girl  to  cry  to  old  Moneypenny. 
That’s  it.  On  one  occasion  I  refused  to  take  costs  from  a  fellow 
whom  I  thought  hardly  used  and  I  gave  him  a  trifle  for  charity. 
Well,  what  was  his  gratitude ?  The  ruffian  went  and  published  it  all 
over  Manchester,  and,  within  a  week,  I  had  every  vagabond  at  my 
door  expecting  advice  gratis  and  a  sovereign. 

Enter  Betsey,  r.  2  e. 

Betsey  No,  sir — I  looked  out  the  door  and  there  she  is. 

Money  Did  you  tell  her  I  would  not  see  her  ? 

Betsey  Of  course  I  did. 

Money  Very  well,  then  show  her  up  and  I’ll  tell  her  myself. 

Betsey  [Aside.]  I  thought  it  would  come  to  that.  [Exit,  r.  2  e. 

Money  I  must  put  an  end  to  this  sort  of  thing  or  my  life  will  be 
rendered  intolerable.  I  won’t  listen  to  a  word  she  has  to  say— no, 
not  a  word. 

Enter  Betsey,  r.  2  e.,  showing  in  Jane. 

Betsey  Here  she  is,  sir.  [Exit,  r  2  e. 

Money  Well,  what  do  you  want?  Is  this  a  time  of  night  to  come 
crying  round  a  respectable  doorstep  ? 

Jane  I  beg  your  pardon,  sir. 

Money  Of  course  you  do— I  should  think  you  did. 

Jane  He  told  me  to  come  to  you,  and  I’ve  been  waiting  here  since 
two  o’clock. 

Money  He  ?  who’s  he  ?  But  don’t  tell  me  some  vagabond  in  a  scrape. 
I  really  can  not  enter  into  business.  Don’t  speak.  [Pause.]  What’s 
your  name  ? 

Jane  Jane  Learoyd. 

Money  Now,  this  rascal  is  your  husband  or  your  lover,  eh  ? 

Jane  [Crying.]  Yes,  sir. 

Money  What  is  it  ?  Robbery?  larceny? — 

Jane  No,  sir — murder. 

Money  [Dropping paper.]  Lord  bless  us  !  Murder,  eh  ? 

Jane  He  is  accused  of  killing  Mr.  Readley,  and  the  evidence  is  very 
strong  against  him. 


THE  LONG  STRIKE.  29 

Money  Strong?— it’s  conclusive!  I  know  the  evidence  in  the 
hands  of  the  police.  I  never  heard  a  clearer  case. 

Jane  [ Crying  ]  Clear  or  not,  sir,  Jem  Stark ee  is  as  innocent  as  you 

are. 

Money  He  doubtless  made  you  believe  it,  but  his  jury  will  not  be 
composed  of  his  sweethearts,  and  they  will  scarcely  take  his  own  word 
for  it. 

Jane  I  did  not  take  his  word  for  it,  I  took  the  word  of  him  as  did 
the  deed. 

Money  You  know  him? 

Jane  [Crying.]  He  is  my  father. 

Money  [Rising.]  Good  heavens  !  no ! 

Jane  [Crying.]  I’ve  come  here  to  ask  you  to  help  a  poor  lad  and  an 
honest  girl  out  of  their  sad  trouble.  I  can’t  tell  you  half  the  truth 
for  to  tell  you  rightly  you  must  know  the  whole. 

Money  Your  father  killed  him  ? 

Jane  [Crying.]  And  none  can  prove  that  but  one  person,  and  that 
is — 

Money  Yourself. 

Jane  [Crying.]  Yes,  sir. 

Money  He  refuses  to  confess  ? 

Jane  No,  sir,  he  is  out  of  his  mind.  He  was  so,  I  believe,  when  he 
committed  the  deed.  I  gathered  from  his  ravings  enough  to  satisfy 
me  that  it  was  he  who  fired  the  shot.  But  oh,  sir !  how  can  I  accuse 
him  ?  Yet,  how  can  I  let  poor  Jem  die? 

Money  Then  how  can  your  lover  be  exculpated  ?  The  circumstan¬ 
tial  evidence  is  strong  against  him. 

Jane  [Crying.]  Jem  was  far  away  from  the  place  when  the  deed 
was  done.  He  was  at  Eccles,  on  the  Liverpool  road,  in  company  with 
Johnny  Reilly,  a  sailor. 

Money  Where  is  this  man  ? 

Jane  By  this  time  he  is  in  Liverpool.  His  ship  was  to  sail  to-day. 

Money  To-day?  Blit,  my  dear  girl,  do  you  know  that  your  lover’s 
life  hangs  on  a  single  hour  ?  If  that  man  has  left  England,  and  we 
can  not  obtain  him  as  witness,  I  would  not  give  sixpence  for  this  lad's 
chance  of  escaping  the  gallows.  Why  didn’t  you  come  before? 

Jane  I  have  been  waiting  for  seven  hours  at  your  door,  sir. 

Money  Seven  hours,  at  my  door?  That  damned  Betsey  wouldn’t 
let  her  in  What  is  the  name  of  the  ship  ? 

Jane  [Sobbing. J  The  name  ?  Stay,  he  did  tell  me  but  I  forgot,  I 
am  so  bewildered.  It  was  the  Susan  and — no — the  Mary — it  wTas  two 
womens’  names. 

Money  Two  women?  egad,  that’s  a  bad  omen.  [Takes paper — reads.] 
“  Shipping  cleared  :  The  James  Dunbar,  for  Valparaiso  ;  Red  Rover 
for  Sydney  ;  the  Stonewall,  for  New  York  ;  the  Eliza  and  Mary — 

Jane  That’s  it. 

Money  Aye,  but  too  late.  My  poor  girl,  the  vessel  has  left  the 
Mersey,  and,  by  this  time,  must  be  out  to  sea. 

Jane  [Crying.]  Oh  !  Then  ain’t  there  no  hope? 


80 


THE  LONG  STRIKE. 


Monet/  There  is  none. 

Jane  [Crying.']  My  poor  lad — my  poor  lad — what  can  I  do  ior  thee  ? 

Money  How  can  i  tell?  There,  don’t  cry.  [Wipes  his  eye.]  Damn 
it,  don’t  cry  !  I  hate  to  see  a  woman  cry — I  don’t  allow  it ! 

Jane  I  ax  your  pardon,  sir.  I  thank  you  for  being  so  kind. 

Money  What’s  the  use  of  being  kind?  Will  that  save  the  vaga* 
bond’s  life?  No!  Very  well,  what  do  you  bring  me  such  a  case 
for,  depriving  me  of  my  peace  of  mind  ?  Stop  !  I  said  there  was  no 
hope,  eh  ?  There  is  one.  That  sailor  must  be  brought  back,  if  it  is 
not  too  late.  I  never  thought  of  that. 

Jane  [Crying.]  Oh,  sir,  what  is  it?  Can  I  do  aught? 

Money  Hold  your  tongue.  No — nothing — yes — that  will  do.  But 
it  will  cost  money,  and  mind,  I  won’t  advance  a  penny — mind,  not 
one  penny. 

Jane  Oh,  sir,  I  thought  of  that — I  have  money — here  it  is.  [ Take s 
silver  coin  and  two  tickets  from  her  pocket  and  places  them  on  table.]  There, 
3ir,  there  is  fourteen-and-ninepence. 

Money  What  are  these  ?  [ Takes  up  tickets.]  Pawnbroker’s  tickets  ? 

Jane  [ Picks  up  tickets  quickly.]  Oh,  sir,  I  ax  your  pardon — I  didn’t 
mean  them. 

Money  So  you’ve  been  pawning  your  little  things  to  raise  this 
money  to  save  him  ? 

Jane  [Crying.]  Yes,  sir— ain’t  it  enough?  Oh,  ain’t  it  enough? 
Please,  here’s  my  shawl,  it  will  fetch  four-and-threepence  more,  sir. 
Oh,  sir,  won’t  it  do  ?  Won’t  it  do  ? 

Money  Take  up  your  money  !  Take  it  up  this  instant !  How  dare 
you  insult  me  by  offering  me  money  ?  Give  me  my  coat  and  hat — 
there’s  not  a  moment  to  lose. 

Jane  [Eagerly.]  Yes,  sir.  [Gels  coat  and  comforter. 

Money  Help  me  on  with  it.  This  is  how  I  dismiss  the  cares  of  the 
world  without,  and  give  myself  up  to  enjoyment.  Give  me  my  com¬ 
forter. 

Jane  [Puts  comforter  around  his  neck.]  Are  we  going  to  Liverpool,  sir? 

Money  Hold  your  tongue — you’re  a  fool. 

Jane ,  Yes,  sir. 

Money  Now  don’t  rely  on  this  hope!  Don’t  rely  on  it!  Don't 
dare  to  rely  on  it!  It  ain’t  the  size  of  a  pea!  I’m  going  to  tele¬ 
graph  to  the  heads  to  see  if  the  vessel  can  be  communicated  with, 
and  if  so,  we  may  recall  the  witness. 

Jane  Heaven  bless  you,  sir,  for  taking  a  poor  girl’s  troubles  to 
your  heart. 

Money  I  don’t  take  them  to  any  such  place — don’t  deceive  your¬ 
self — this  is  all  professional — my  actions  are  purely  in  a  professional 
way,  without  any  feeling  whatever— you  understand  ?  W  ithout  any 
feeling  whatever.  I  am  a  poor  man  and  I  can  not  afford  to  indulge 
in  any  such  damned  nonsense.  Don’t  cry — if  you  cryl’ll  throw  up 
the  case.  "i  ' 


Enter  Betsey  with  waiter  on  ivhich  is  the  cup  of  tea  and  muffin. 


THE  LONG  STRIKE. 


81 


Betsey  Here’s  the  tea,  sir. 

Money  [Crosses  to  table.']  The  tea?  Ah  !  nice  and  hot,  ho— a  nice 
muffin.  See  what  I’m  sacrificing  for  you.  I’m  going  in  the  cold  air 
on  an  empty  stomach. 

Betsey  Your  surely  not  going  out  again,  sir? 

Money  [Taking  hat  and  umbrella.]  Yes,  I  am.  [To  Jane.]  Take  my 
arm,  now — don’t  cry.  I’ve  promised  a  quiet  evening,  and  egad,  I 
think  I’m  going  to  have  it.  [Exit  with  Jane,  l.  1  e.  Betsey  at  table. 

CURTAIN. 

ACT  1Y. 

SCENE  I. — Telegraph  office  in  3;  box  scene ;  circular  counter;  real  appara¬ 
tus;  tormenter  doors  used  only  ;  painted  window  c.  of  f.;  curtain  painted 
on  window  to  appear  rolled  up  ;  letters  on  window  to  read  backward — “  TeU 
egraph  Office — Messaqes  sent  to  all  parts  of  the  United  Kingdoms."  Chair 
at  r.  end,  of  counter  ;  gas-lights  with  shade’s  over  opei'atives  desk,  ( lighted ) ; 
high  stools  behind  counter  for  operatives  ;  writing  materials  on  counter  and, 
different  desks  ;  tibo  small  desks  on  counter  with  blank  despatches  and  writing 
materials  ;  two  kerosene  lamps  by  desks  and  desk  and  counter  telegraph  opera¬ 
tives  working  as  curtain  rises.  Slack,  Two  Operatives  and  One  Mes¬ 
sage  Boy  discovered.  Gentleman  passing  on  and  off. 

Slack  [At  centeo' — to  Gent.]  Fourteen  words?  What’s  the  address? 
Lake  Street,  Chicago,  United  States  ?  Twenty  pounds,  sir. 

[Gent  passes  money  and  exits ,  l.  1 

Enter  Brooke,  l.  1  e. 

Brooke  Is  the  line  working  through  to  Clitheroe  ? 

Slack  No,  sir — nothing  hut  the  main  lines  open.  The  side  line 
closes  in  the  evening  at  nine  o’clock,  some  of  them  as  early  as  seven. 

Brooke  Are  you  aware,  sir,  that  much  inconvenience  may  result  to 
the  public  by  this  early  closing  ? 

Slack  The  telegraph  is  a  private  enterprise,  and  maintained  for 
profit.  The  business  coming  in  after  nine  o’clock  would  not  pay. 
except  on  the  main  lines. 

Broike  Are  you  sure  that  Clitheroe  is  not  working  through. 

Slack  To  satisfy  you,  sir,  I  can  signal  and  see.  Mr.  Russel,  just 
signal  Blackburn  and  ask  if  Clitheroe  is  through.  If  you  will  wait 
for  a  few  moments  we  will  get  an  answer. 

Is?  Operator  I  say,  Tom,  there’s  a  big  fire  going  on  in  Glasgow,  they 
can’t  get  it  under. 

2nd  Operator  Answer  from  Blackburn — Clitheroe  gone. 

Brooke  Thank  you,  sir — good  evening.  [Exit,  l.  i  e. 

Slack  Good  evening,  sir.  [To  Boy.]  Take  this  despatch  to  Port¬ 
land  Terrace,  Oxford  Square,  one  shilling  to  pay. 

[Exit  Boy,  l.  1  e.  Operatives  quit  work  and  turn  out  gas  over  desk  ;  pre¬ 
pare  to  go  home.] 


82 


THE  LONG  STRIKE. 


Slack  [To  1st  Operative.]  Mr.  Russel,  be  sure  to  return  nt  eleven 
o'clock  to  relieve  me.  [Exit  Operatives,  r.  1  e.]  Miller,  Miller ! 
Where  is  that  imp,  Miller?  Oh  !  here  he  is,  asleep  under  the  counter. 
Come,  get  up,  Miller.  [Boy  rises,  rubbing  his  eyes.']  Take  them 
despatches  to  the  newspaper  offices,  and  then  you  may  go  home. 
[Exit  Boy,  yawning  as  if  half  asleep.]  Poor  boy,  he’s  run  so  much  to 
day  he  must  be  sadly  tired. 

[Takes  up  newspaper  ;  stands  behind  counter ,  l.  c 

Enter  Moneypenny  and  Jane,  l.  1e. 

Money  Here  we  are.  Now  let  me  attend  to  this.  Now,  you  sit 
here.  [Places  Jane  in  chair,  r.  c.  To  Slack.]  This  young  person 
wishes  to  send  a  telegram  to  the  signal  station  at  the  north  of  the 
Mersey. 

Slack  Too  late,  sir,  by  half  an  hour,  but  if  you  will  leave  your 
message  I  will  send  it  the  first  thing  in  the  morning. 

Jane  Too  late?  Oh,  sir,  do  try— do ! 

Money  Hold  your  tongue.  Surely  there  must  be  some  means  of 
communicating  in  cases  of  extreme  emergency. 

Slack  Let  me  see.  You  can  reach  Liverpool  by  rail  at  Midnight 
There  you  can  hire  a  boat,  and  if  the  tide  serves  you  might  reach  the 
cars  by  two  o’clock  in  the  morning. 

Money  But  this  process  will  take  four,  perhaps  six  hours,  and,  in 
the  meantime,  the  ship  may  have  sailed. 

Slack  I’m  very  sorry,  sir,  but  I  assure  you  that  the  office  at  the 
heads  is  closed. 

Jane  Oh,  sir,  try !  Can’t  you  try  to  open  it. 

Money  Will  you  keep  quiet  ?  This,  sir,  is  a  matter  of  life  and  death. 
If  %ve  fail  to  transmit  a  message  to  that  vessel  a  man’s  life  will  be 
sacrificed  as  surely  as  we  stand  here. 

Slack  I  am  as  powerless  as  yourselves  to  avert  the  calamity,  but  to 
satisfy  you  I  will  summon  the  heads,  yet  I  assure  you  it  is  not  of  the 
slightest  use. 

Jane  Oh,  thank  you,  sir. 

Slack  I  have  two  messages  for  ships  expected  to  arrive,  and  I  sig 
naled  the  heads  some  half  hour  since  and  could  get  no  answer. 

Jane  Oh,  sir,  what  shall  we  do?  What  shall  we  do? 

Money  If  you  cry  and  get  me  nervous  I  shall  go  home.  Sit  quiet. 

Slack  [Having  worked  apparatus.]  There,  sir,  you  see  the  wires  are 
dumb.  [Jane  falls  on  knees.]  I  am  truly  sorry,  sir,  but  if  you  were 
to  give  me  one  thousand  pounds  I  could  not  make  them  speak. 

Money  Of  course  you  can’t.  Thank  you,  it  is  not  your  fault,  but 
this  poor  girl,  sir — this  poor  girl — it  is  her  sweetheart  that  will  be 
tried  for  murder — that  wire  was  the  thread  on  which  the  lad’s  life 
was  suspended  and  it  fails  her.  It  is  hard,  sir.  I  am  a  lawyer,  aDd 
used  to  hard  cases,  but  this  does  appear  to  me  a  cruel  one.  Come, 
Jane. 

Jane  Oh  !  let  me  pray — let  me  pray  !  - 

Money  Heaven  help  you,  my  poor  girl,  for  we  can  do  no  more. 


THE  LONG  STRIKE. 


33 


{To  Slack.]  You  see,  sir,  this  being  assize  time,  his  trial  will  come 
off  at  once.  1  fear  it  will  go  hard  with  him.  [Jane’s  head  falls  against 
chair.]  Why,  what  is  the  matter,  Jane  ? 

Jane  I  am  faint,  sir.  I  feel  very  cold. 

Slack  [ Having  come  from  behind  counter ,  stands  l.]  Can  I  assist  you, 
sir? 

Money  She  is  swooning,  sir.  Oh,  dear— what  shall  I  do.  Jane! 
Jane  !  [Instrument  at  back  begins  to  tap. 

Slak  Hark,  sir!  hark!  There’s  a  signal!  Stop  a  bit!  [Runs 
behind  counter.]  By  some  accident  the  station  at  the  head  is  alive. 

Money  Jane,  Jane!  do  you  hear?  The  line  is  open— the  wire  is 
working ! 

Jane  [Still  on  knees,  hands  clasped .]  Heaven  has  heard  my  prayer. 

Slack  Now  then,  sir,  for  your  message. 

Money  [To  Jane.]  Stop  there.  [To  Slack.]  Ask  them  has  the 
Barque  Eliza  and  Mary  left  the  Mersey.  [Pause— Jane  sobs.]  Hush — 
keep  quiet ! 

Slack  [  Who  has  sent  message  as  directed  by  Moneypenny— receives  reply.] 
Barque  Eliza  and  Mary  inside  the  bar  waiting  for  a  tide. 

Money  Hurrah  !  hurrah  ! 

Slack  What  next  ? 

Money  Can  you  communicate  with  the  Barque  ?  If  so,  how? 

Slack  [Ms  before.]  Yes— by  pilot  boat. 

Money  Despatch  it  at  once,  with  message  from  Jane  Learoyd  to 
John  Reilly,  sailor— “  Come  back  ;  give  evidence  required  in  favor  of 
James  Starkee,  accused  of  murder  ;  case  now  on.  Signed,  Jane  Lea¬ 
royd.  ’  ’ 

Slack  [Ms  before.]  I  don’t  think  the  boat  will  take  the  message 
unless  you  are  acquainted  with  some  one  there  who  will  pay 
expenses. 

Money  [Takes  out  pocket-book.]  There,  there’s  twenty  pounds— say 
you  have  it — say  you  have  any  amount.  Damn  me,  1 11  see  this 
thing  through. 

Slack  [Sending  message.]  I  have  twenty  pounds  in  my  hands  to  pay 
expenses.  [Pause.]  One  moment,  sir,  here  comes  the  answer.  Pilot 
boat  gone. 

[During  the  latter  part  of  the  dialogue  Jane  listens  breathlessly.  Grosses  to 
Moneypenny  and  kisses  his  hands  as 

scene  closes. 

SCENE  II. — The  after  cabin  of  the  ship  “  Eliza  and  Mary ;’  ’  window  in 

flat,  l.  h.  ,  representing  the  cabin  window  of  ship  ;  lively  music ,  as  scene 

opens 

Enter  John  Reilly,  l.  n. 

John  [Looking  through  window.]  Good-by,  Ould  England,  it  will  bo 
many  a  day  before  we  meet  again,  and  when  that  day  comers-  it  may 
be  I’ll  be  dead  and  buried  in  a  foreign  land.  Tramp,  tramp,  I  heal 


84 


THE  LONG  STRIKE. 


the  men  at  the  capstan — the  anchor  is  coming  up,  and,  wl  on  it  leaves 
the  bottom,  my  heart  quits  hould  of  the  world  forever  entirely — good 
by,  Jane.  [ Voice  outside ,  r.  1  e  ,  “vast  heavin!”]  Vast  heavin ? 
What’s  the  matter  ?  Something  foul  on  deck,  or  maybe  there’s  too 
heavy  a  sea  ? 

Enter  Captain  W  ole  with  spyglass  in  his  hand,  l.  1  e. 

Capt  What’s  amiss?  Go  up  and  order  the  pilot  to  find  out  what's 
wrong  and  why  he  told  the  men  to  vast  heavin. 

John  Aye,  aye,  sir.  [Exit,  l.  1  e. 

Capt  The  old  fool  must  be  dreaming.  [Goes  to  window  and  looks 
through  spyglass.]  Hello,  yonder  is  some  lights,  though,  and  they 
appear  to  be  signaling  to  some  vessel,  but  it  can’t  be  the  Eliza  and 
Mary  they  want,  yet  it  looks  like  our  number.  The  fellow  is  right, 
and  is  — 

John  He  says,  sir,  that  a  pilot  boat  is  making  for  this  ship,  here 
away  on  the  lee  quarter. 

Capt  [ Still  at  window.]  I  see  her — she  is  burning  a  blue  light  now — 
some  message  from  our  owners — they’ll  toss  it  on  board — so  te  J 
them  to  heave  on. 

Jonn  I  ax  pardon,  but  I  know  this  bar  right  well,  an  with  such  a 
sea  on  as  we  have  to  night,  if  we  leave  go  the  bottom,  we’ll  have  to 
run  for  it,  we  can’t  dodge  about  on  these  narrow  quarters  to  stop  for 
visitors. 

Capt  W ell,  damn  you  impudence !  Do  you  want  to  teach  me  nav¬ 
igation  ? 

Voices  outside ,  it.  1  e.  Pilot  boat,  ahoy  ! 

Voices  outside  Aye,  aye  ! 

Capt  There’s  the  pilot  boat. 

Voices  outside  Stand  by  for  a  message  from  the  shore. 

Capt  I  thought  so— they’ll  throw  it  aboard.  Go  fetch  it.  [Exit 
Reilly,  l.  1  e.]  Some  last  instructions  from  a  consignee  I  suspect 
[Goes  to  window  and  looks  out.]  Here  she  comes.  Look  out !  port  your 
helm,  you  lubbers,  or  you’ll  be  aboard  of  us  !  Well  done — steady — 
what  is  he  after  now  ?  I  declare,  he  is  lying  under  our  lee. 

Enter  Reilly  with  despatch,  l.  1  e. 

John  ’Tis  a  despatch,  sir. 

Capt  [Takes  despatch  and  reads.]  What’s  this  ?  Jane  Learovd,  Man¬ 
chester,  to  John  Reilly,  sailor,  on  board  Barque  “  Eliza  and  Mary.” 

John  To  me?  To  me — from  Jane? 

Capt  Well,  by  thunder,  the  service  is  come  to  a  fine  fix  when  a 
ship’s  to  heave  to  for  a  beggarly  sailor  to  receive  a  message  from  his 
sweetheart. 

John  ’Tis  a  mistake.  ~ 

Capt  [i?eads.]  Come  back  ;  give  evidence  require  l  in  favor  of  Jamef 
Starkee,  accused  of  murder  ;  case  now  on.  Jane  Learoyd. 

John  Jem  accused  of — oh,  murther !  who  did  the  murther  ? 


THE  LONG  STRIKE. 


85 


Capt  I  am  very  sorry  for  Jem,  whoever  he  is,  as  my  ship  is  short  of 
hands  I  can’t  spare  you. 

John  But,  Captain,  darlint,  sure,  don’t  you  see  he  has  murthered 
somebody,  and  she  wants  me  to  swear  he  hasn’t? 

Capt  [ Calling  off ,  l.  1  e.]  Heave  away  there — in  two  minutes  I’ll 
have  the  anchor  apeak,  and  in  half  an  hour  I  shall  be  clear  of  the  bar. 

John  I — -I’  11  go  back  in  the  pilot  boat  when  she  leaves  the  ship  out¬ 
side. 

Capt  Out  of  this  craft  you  don’t  budge.  If  this  fellow’s  life  is  in 
danger  so  is  every  man’s  life  in  danger  on  hoard  this  ship,  if  we  go  to 
sea  short  handed.  Remember,  you  have  signed  articles  with  me  and 
aboard  this  ship  you  stop.  [Exit  l.  1  e. 

John  [Pause;  snaps  fingers.']  That  for  my  articles.  Jane  has  called, 
me  back,  and  back  I’ll  go.  Sure*  didn’t  she  write  me  a  letter  by 
telegraph  ?  Now  if  I  had  a  telegraph  to  go  hack  on.  There  goes  the 
anchor.  [ Runs  to  window .]  We’re  moving.  Where’s  the  pilot  boat? 
I  see  her.  Murther,  but  there’s  a  devil  of  a  sea  on — but  I’ve  got  the 
tide  on  my  favor.  Jane,  darxin’,  I’ll  come  to  you. 

[Music  p. ,  hurried  ;  business  ad  lib  ;  goes  to  window ,  throws  out  coat  and  hat , 
takes  stage  to  fool  lights,  runs  up,  springs  though  window,  disappears.] 

CHANGE  SCENE. 

W!ENE  III, — See  all  ready  behind  for  court  scene.  The  crown  side.  Entire 
depth  of  stage,  u.c  .;  opposite  4th  e.  is  an  elevated  platform  with  desk  in 
front  for  presiding  judge  and  two  associates,  over  which  is  built  a  canopy, 
on  top  of  which  are  the  arms  of  Great  Britian  ;  immediately  in  front  of  pre¬ 
tiding  judge,  are  seated  a  few  associate  judges,  side  by  side ;  long  table ,  c., 
streivn  with  books,  papers,  lawyer  s  brief,  writing  materials,  etc.,  etc.  On 
extreme  r.,  running  from  first  to  third  entrance  obliquely,  a  railing,  behind 
which,  numerous  spectators  stand ;  prisoner’s  dock,  r.  n.;  witness  stand,  l. 
0.  ;  railing  on  l.  ,  running  obliquely  from  2nd  to  4 th  entrance,  behind  which 
are  seated  twelve  jurors  ;  entire  scene  backed  by  arch,  through  which  is  seen  a 
jplatform  elevated  about  4,}  fed,  running  across  from  r.  to  l.  crowded  With 
spectators ;  eight  or  ten  chairs  around  table,  c.;  Sir  John  Fairfield,  pit- 
tiding  judge  and  two  associates  ;  Judges  dressed  in  red  gowns,  ermine  capes 
and  white  bags ;  four  associate  judges  in  black  gowns  and  white  wigs  ;  Spur¬ 
rier,  Wigley  and  others ;  Barristers  dressed  the  same;  all  discovered eis 
scene  opens.  James  Starred  in  prisoner’s  dock,  r.  c.;  Cranksiiaw  in 
witness  stand ;  Spurrier  l.  ii.  of  table;  Wigley  r.  h.  of  table;  Money - 
penny  l.  ii.  corner  of  table  ;  Barristers  seated  at  table  examining  papers; 
Spectators,  Jurors,  Bailiff,  etc.  Crier  r.  1  e.  with  staff  of  office;  mur¬ 
murs  by  crowd  as  scene  opens. 

Grier  Silence  in  the  Court. 

Spurrier  [To  Crankshaw.]  Did  you  not  hear  the  prisoner  say  he 
would  do  for  Mr.  Beadley  ? 

Crank  Yes,  sir  ;  his  words  were — I’ll  find  you  where  no  policeman 
can  step  in  between  us. 

Spur  Do  you  know  a  sailor  named  John  Reilly  ? 


THE  LONG  STRIKE. 


M 


Oranlt  I  do. 

Spur  Where  did  you  see  him  last  ? 

Crank  On  the  day  of  the  murder  at  Learoyd’s.  He  showed  me  a 
pistol  which  he  said  he  had  taken  from  the^prisoner. 

Spur  Did  he  tell  you  he  had  taken  it  from  him  ? 

Crank  Yes  ;  he  said  he  was  afraid  Jem  Starkee  was  minded  to  kill 
Mr.  Readley. 

Jem  Johnny  never  said  that. 

Spur  Silence,  prisoner  ! 

Crank  I  so  understood  him. 

Spur  May  it  please  your  lordship  and  gentlemen  of  the  jury,  that 
closes  the  case  for  the  crown.  [Sits. 

Wigley  [Rising.]  At  what  time  did  you  see  the  pistol  at  Noah  Lea¬ 
royd’s  ? 

Crank  Between  seven  and  eight  in  the  evening. 

Wig  Don’t  you  know  that  the  prisoner  left  Manchester  about  that 
time,  with  a  sailor  named  John  Reilly,  for  Liverpool  ? 

Crank  I  have  heard  so. 

Judge  Is  this  man  Reilly  here  ? 

Wig  No,  my  lord,  we  have  used  every  means  to  secure  his  presence, 
but  to  no  purpose.  Very  well,  you  may  stand  down.  [Crankshaw 
retires  up  stage  J  Call  Jane  Learoyd. 

Crier  Jane  Learoyd,  come  into  Court.  [Murmurs. 

Enter  Jane,  r.  1  e.,  followed  by  Noah.  Money  penny  grasps  Jane’s  hand 

as  she  ascends  witness-box. 

Noah  [r.  c.]  No  offense — I  come  to  speak  for  the  people.  I  only 
come  for  our  rights — I’ve  got  them  writ  down  on  this  bit  o’ paper. 

Judge  Who  is  this  man  ?  Officer,  preserve  order. 

Money  It  is  the  father  of  the  witness,  my  lord;  he  is  a  little  crazy. 

Judge  He  must  keep  quiet  or  be  removed  from  the  Court. 

[Crier  forces  Noaii  in  chair,  r.  c. 

Wig  So  your  name  is  Jane  Learoyd  ? 

Jane  Yes,  sir. 

Wig  On  the  day  previous  to  this  fatal  occurrence,  did  not  Mr. 
Readley  escape  from  the  hands  of  the  mob  and  seek  refuge  in  your 
house  T 

Jane  He  did. 

Wig  Was  not  the  prisoner  there  at  the  time  ? 

Jane  He  was. 

Wig  Did  not  the  prisoner  point  out  to  the  mob  where  they  might 
find  him  ? 

Jane  No ;  he  helped  me  to  hide  him  and  afterwards  helped  Mr. 

Readley  to  escape. 

Wig  Helped  to  hide  Mr.  Readley  and  afterwards  helped  him  to 
escape,  and  by  so  doing  ran  a  risk  of  "violence  from  the  hands  of  the 
excited  populace  ?  1 

Jane  I  feared  for  him. 

Wig  That  is,  he  risked  his  own  life  to  save  that  of  the  deceased, 
for  whose  murder  he  is  now  accused  ? 


THE  LONG  STRIKE. 


37 


Jane  It  is  true,  sir. 

Wig  Did  not  John  Reilly  tell  you  he  had  the  pistol  from  the 
prisoner  because  he  had  threatened  Mr.  Readley  ? 

Jane  No,  sir ;  he  said  he  was  afraid  Jem  was  agoin’  to  take  his 
own  life  with  it. 

Wig  Out  of  love  for  you,  I  suppose  ? 

Jane  Yes,  sir.  [Wiglet  sits. 

Spur  [Rising.]  The  prisoner  is  a  sweetheart  of  yours,  eh  ? 

Jane  Yes,  sir. 

Spur  And  Mr.  Readley  was  another  admirer? 

Jane  He  said  so,  sir. 

Spur  [To  Crier.]  Hand  the  paper  to  the  witness.  [Crier  hands 
paper  to  Jane.]  Is  that  your  hand  writing  ? 

Jane  Yes,  sir. 

Spur  Read  it. 

Jane  [Reads.]  Dear  Jem — come  and  see  me. 

Sjjur  Did  you  not  write  it  to  the  prisoner  ? 

Jane  I  wrote  it,  but  never  sent  it. 

Spur  You  said  the  prisoner  was  about  to  do  himself  a  mischief. 
Now,  was  that  out  of  jealousy? 

Jane  I  can  not  tell. 

Spur  On  your  oath,  girl— on  your  oath — did  you  not  drive  the 
prisoner  to  despair  by  your  heartless  conduct  ? 

Jane  Yes,  I  did. 

Spur  Now,  of  your  two  lovers,  which  do  you  prefer  ?  [Sits. 

Jane  You — you  ax  me  which  I  like  best?  Well,  sirs,  I’ll  answer 
ye's  as  I  did  poor  Mr.  Readley,  in  the  lane.  I  have  been  giddy  and 
vain,  for  you  see,  sir,  mother  died  when  I  was  bare  thirteen,  afore  I 
well  knew  right  from  wrong — ah,  sir,  a  mother  is  a  pitiful  loss  to  a 
girl — so,  when  my  master  showed  a  liking  for  me,  1  put  aside  for 
him  the  lad  who  courted  me  ever  since  I  was  a  child,  but  I  had 
scarce  been  cruel  when  my  heart  smote  me  back  and  rose  up  against 
me,  and  then  I  knew — I  knew — 

Jem  Oh,  Jane  •. 

Jane  — I  knew  I  loved  but  one,  and  that  one  I  have  brought  to 
shame  this  day,  and  maybe  to  death.  Forgive  me,  Jem.  forgive  me ! 

Jem  Forgive  thee,  lass  ?  Thy  words  have  taken  away  sorrow  and 
my  sufferings.  Bless  thee — bless  thee  !  [Murmurs. 

Crier  Silence  in  the  Court. 

Judge  [To  Jury.]  Gentlemen,  you  have  heard  the  evidence.  The 
prisoner  and  the  deceased  were  rivals.  It  has  been  shown  that  an 
altercation  with  violence  had  occurred  between  them.  The  same 
night  the  prisoner  buys  the  pistol  produced.  The  girl,  having  re¬ 
jected  his  favors,  grants  Mr.  Readley  an  assignation.  Here  we  have 
the  motive  followed  by  facts  in  consistent  sequence — nothing  is 
denied.  The  defense  is,  the  prisoner  could  not  have  committed  this 
crime,  for  he  was,  at  the  moment,  near  Eccles,  in  company  with  a 
sailor  man  named  John  Reilly.  It  is  for  you  to  weigh  the  facts, 
giving  the  prisoner  full  benefits  of  your  doubts  if  you  have  any. 


88 


THE  LONG  STRIKE. 


Foreman  [After  consulting  Jury  rises.]  My  lord,  we  have  none. 

[ Murmurs . 

Judge  Officer,  preserve  order. 

Money  [To  Wigley.]  The  absence  of  Reilly  is  fatal — the  man  will 
be  hung.  [Jury  stiU  consulting. 

Jane  [To  Moneypenny.]  Why  do  they  speak  together? 

Money  Maybe  to  recommend  him  to  mercy. 

Crier  Silence  in  the  Court ! 

Judge  There,  how  say  you— guilty,  or  not  guilty?  [Murmurs. 

Crier  Silence  in  the  Court,  for  the  gentlemen  of  the  jury  to  declare 
their  verdict ! 

Johnny  [Outside,  r.  1  e.]  Let  me  in  ;  don’t  stop  me,  I  say. 

[Commotion  outside. 

Jane  'Tis  he — ’tis  Johnny  !  [Reilly  rushes  in,  r.  1  e. 

John  Where  is  he  ?  am  I  too  late  ?  [Presses  Jem’s  hand.]  Here  I 
am  ;  long  life  to  ye  ;  never  fear.  [Murmurs. 

Crier  Silence  in  the  Court ! 

Judge  Who  is  this  man  ? 

Wigley  My  lord,  this  is  the  missing  witness.  This,  my  lord,  is 
John  Reilly. 

Judge  Let  him  get  in  the  box. 

John  I  will,  sir.  [Tries  to  climb  in  prisoner's  box;  is  stopped  by  Crier. 
411  right ;  anywhere  you  like.  [Crier  conducts  km  to  witness-stand,  and 
motions  him  to  hold  up  his  right  hand. 

Reilly  Never  fear,  Jane  ;  I’ll  swear  him  off 

Wigley  Did  you  walk  to  Liverpool  ? 

John  Every  mile  of  the  way. 

Wigley  Where  were  you  at  nine  o’clock? 

John  At  Fox  Hill. 

Wigley  At  nine  o’clock  he  was  at  Fox  Hill,  my  lord.  Were  you 
alone  ? 

John  No  ;  Jem  Starkee.  there,  was  wid  me. 

Wigley  That  you  swear? 

John  Och,  man  alive,  vvhat  has  brought  me  back  from  aboard  my 
ship?  Did  n’t  the  Captain  want  to  kape  me  afther  I  got  Jane’s  let¬ 
ter  to  come  back  ?  But  I  £ook  to  the  wather,  and  was  picked  up  by 
the  pilot  boat,  that  put  me  ashore  at  Southport.  On  regards  of  the 
winds  being  contrary,  I  made  across  to  the  railroad,  where  I  found 
they  would  n’t  take  me,  bekase  I  had  no  money,  until  I  found  a  sto¬ 
ker  who  knew  Jane,  and  he  took  me  to  Wiggan,  and  from  there  I 
ran  all  the  way  here.  Do  ye  think  T’ve  done  all  that  to  tell  a  lie  ? 

Judge  'Tis  for  you,  gentlemen,  to  ccnsider  what  weight  is  to  be 
attached  to  the  evidence. 

Foreman  Not  Guilty  !  [Jem  Starkee  descends  from  dock.  Jane  rush 
es  into  his  arms.  Moneypenny  turns  and  grasps  Reilly  by  the  hand.  Luua 
bkouls  by  the  crowd  Lively  music. 

CURTAIN. 


/ 


f^“SEND  FOR  A  NEW  DESCRIPTIVE  CATALOGUE 


{French’s  Standard  Drama  Continued  from  2d  page  of  Cover.) 

VOL.  XL VII. 


VOL.  XLI. 

The  Pirate’s  Legacy 
The  Charcoal  Burner 
Adelgitha 
Senor  Valiente 
Forest.  Rose 
Duke’s  Daughter 
Camilla’s  Husband 
Pure  Cold 

VOL.  XLIT. 

Ticket  of  Leave  Man 
Fool’s  Revenge 
O’Neil  the  Great 
Handy  Andy 
Pirate  of  the  Isles 
Fanchon 
Little  Barefoot 
Wild  Irish  Girl 
VOL.  XLIII. 

Pearl  of  Savoy 
Dead  Heart 

Ten  N ights  in  a  Bar-room 
Dumb  Boy  of  Manchester 
Belphegor  the  Mounteb’k 
Cricket  on  the  Hearth 
Printer’s  Devil 
Meg’s  Diversion 


\  VOL.  XLIV. 

345  Drunkard’s  Doom 

346  Chimney  Corner 

347  Fifteen  Years  of  a  Drunk- 

348  No  Thoroughfare  [Lard’s 

349  Peep  O’  Day  |_Life 

350  Everybody’s  Friend 
361  Gen.  Grant 

352  Kathleen  Mavourneen 

VOL.  XLV. 

353  Nick  Whiffles 

354  Fruits  of  the  Wine  Cup 

355  Drunkard’s  Warning 

356  Temperance  Doctor 

357  Aunt  Dinah 

358  Widow  Freeheart 

359  Frou  Frou 

360  Long  Strike 

VOL.  XLVI. 

361  Lancers 

362  Lucille 

363  Randall’s  Thumb 

364  Wicked  World 

365  Two  Orphans 
3G6  Colleen  Bawn 

367  ’Twixt  Axe  and  Crown 

368  Lady  Clancarthy 


369  Saratoga 

370  Never  Too  Late  to  Mend 

371  Lily  of  France 

372  Led  Astray 

373  Henry  V 

374  Unequal  Match 

375  May  or  Dolly’s  Delusion 

376  Allatoona 

VOL.  XLVIII. 

377  Enoch  Arden 

378  Under  the  Gas  Light 

379  Daniel  Rochat  ' 

380  Caste 

381  School 

382  Home 

383  David  Garrick 

384  Ours 

VOL.  XLIX. 

385  Social  Glass 

386  Daniel  Druce 

387  Two  Roses 

388  Adrienne 
<89  The  Bells 
190  Uncle 

391  Courtship 

392  Not  Such  a  Fool 


VOL.  L. 

393  Fine  Feathers 

394  Prompter’s  Box 

395  Iron  Master 

396  Engaged 

<97  Pygmalion  &  Galatea 

398  Leah 

399  Scrap  of  Paper 
100  Lost  in  London 

VOL.  LI. 

401  Octoroon 

402  Confederate  Spy 

403  Mariner’s  Return 

404  Ruined  by  Drink 

405  Dreams 

406  M.  P. 

407  War 

408  Birth 

VOL.  Lll. 

409  Nightingale 

410  Progress 

411  Play 

412  Midnight  Charge 

413  Confidential  Clerk 

414  Snowball 

415  Our  Regiment 

416  M  arried  for  Money 
Hamlet  in  Three  Acts 
Guttle  &  Gulpit 


RENCH’S  INTERNATIONAL  COPYRIGHTED  EDITION 
OF  THE  WORKS  OF  THE  BEST  AUTHORS. 

The  following  very  successful  plays  have  just  been  issued  at  25  cents  per  copy.  . 


PAIR  OP  SPECTACLES.  Comedy  in  3  Acts 
,y  Sydney  Grundy,  author  of  “ Sowing  the  Wind,” 
:'c.  8  male,  3  female  characters. 

POOL’S  PARADISE.  An  original  play  in  3 
lets  bv  Sydney  Grundy,  author  of  “Sowing  the 
iVind,”  Ac.  5  male,  4  female  characters. 

IE  SILVER  SHIELD.  An  original  comedy  in 
;  Acts  by  Syonry  Grundy,  author  of  “Sowing  the 
Vind,”  &c.  5  male,  3  female  characters. 

IE  GLASS  OP  FASHION.  An  original  corn- 
dy  in  4  Acts  by  Sydney  Grundy,  author  of  “  Sowing 
he  Wind,”  &c.  5  male,  5  female  characters. 


THE  BALLOON.  Farcical  comedy  in  3  Acts  by  J. 
II.  Darni.ey  and  Manvili.k  Fenn.  6  male,  4  female 
characters. 

MISS  CLEOPATRA.  Farce  in  3  Acts  by  Arthur 
Shirley.  7  male,  3  female  characters. 

SIX  PERSONS.  Comedy  Act  by  I.  Zanswill. 
1  male,  1  female  character. 

FASHIONABLE  INTELLIGENCE.  Comedi¬ 
etta  in  1  Act  by.  Percy  Fendall.  1  male,  1  female 
character. 

HIGHLAND  LEGACY.  Comedy  in  1  Act  by 

Brandon  Thomas,  author  of  “Charley’s  Aunt. 

5  male,  2  female  characters. 


Contents  of  Catalogue  which  is 


nateur  Drama 

nateur  Operas 

tides  N  ceded  by  Amateurs 

t  of  Scene  Painting 

ker’s  Reading  Club 

ards,  Whiskers,  Mustaches,  etc. 

und  Sets  of  Plays 

lwer  Lytton’s  Plays 

rlesque'  Dramas 

:rnt  Cork 

.bman’s  Story 

.rnival  of  Authors 

larade  Plays 

illdren’s  Plays 

miic  Dramas  for  Male  Characters 
only 

istume  Books 
ape  Hair 

imberland  Edition 
trkey  Dramas 
ram  as  for  Boys 
rawing-room  Monologues 
oention,  Reciters  and  Speakers 
hiopian  Dramas 


Evening’s  Entertainment 
Fairy  and  Home  Plays 
French’s  Costumes 
French’s  Editions 
French’s  Italian  Operas 
French’s  Parlor  Comedies 
French’s  Standard  and  Minor  Drama 
French’s  Standard  and  Minor  Drama, 
bound 

French’s  Scenes  for  Amateurs 
Frobisher’s  Popular  Recitals 
Grand  Army  Dramas 
Guide  Books  for  Amateurs 
Guide  to  Selecting  Plays 
Hints  on  Costumes 
Home  Plays  for  Ladies 
Irish  Plays 
Irving’s  Plays 
Juvenile  Plays 
Make-Up  Book 
Make-Up  Box 
Mock  Trial 

Mrs.  Jarley’s  Wax  Works 
New  Plays 


sent  Free. 

New  Recitation  Books 

Nigger  Jokes  .and  Stamp  Speeches 

Parlor  Magic 

Parlor  Pantomimes 

Pieces  of  Pleasantry 

Poems  for  Recitations 

Plays  for  Male  Characters  only 

Round  Games 

Scenery 

Scriptural  and  Historical  Dramas 

Sensation  Dramas 

Serio-Comic  Dramas 

Shadow  Pantomimes 

Shakespeare’s  Plays  for  Amateurs 

Shakespeare's  Plays 

Stanley’s  Dwarfs 

Spirit  Gum 

Tableaux  Vrvpnts 

Talma  Actor’s  Art 

Temperance  Plays 

Vocal  Music  of  Shakespeare’s  Plays 

Webster’s  Acting  Edition 

Wigs,  etc. 


{French’ s  Minor  Drama  Continued  from  4th  peigc 

VOL.  XLIII. 


VOL.  XLI. 

1  Adventures  of  a  Love 

2  1  ost  Child  [Letter 

8  Court  Cards 

4  Cox  and  Box 
■5  Fortv  Winks 
:6  Wonderful  Woman 
'  Curious  Case 
Tweedleton’s  Tail  Coat 


VOL.  XLII. 

329  As  Like  as  Two  Peas 

330  Presumptive  Evidence 

331  Happy  Band 

332  Pinafore 

333  Mock  Trial 

334  My  Uncle’s  Will 

335  Happy  Pair 

336  My  Turn  Next 


337  Sunset 

338  For  Half  a  Million 

339  C  ible  Car 

340  Early  Bird 

341  Alumni  Play 

342  Show  of  Hands 

343  Barbara 

344  Who’s  Who 


of  Cover.) 

VOL.  XLIV.  . 

345  Who’S  To  Win  Him 

346  Which  is  Which 

347  Cup  of  Tea 
349.Sarah’s  Young  Man 

349  Hearts 

350  In  Honor  Bound  [Law 

351  Freezing  a  Mother-iu- 

352  My  Lord  in  Livery 


SAMUEL  FRENCH,  26  West  22d  St.,  New  York  City. 


FRENCH’S  MINOR  DRAMA. 

Price  i5  Cents  each.— Bound  Volumes  $1.25. 


[Gold 
5s  Not 


VOL.  I. 

1  The  Irish  Attorney 

2  Boots  at  the  Swan 

3  How  to  Pay  the  Rent 

4  The  Loan  of  a  Lover 

5  The  Dead  Shot 

6  His  Last  Legs 

7  The  Invisible  Prince 

8  The  Golden  Farmer 

VOL.  II. 

9  Tride  of  the  Market 

10  Used  Up 

1 1  The  Irish  Tutor 

12  The  Barrack  Room 

13  Luke  the  Laborer 

14  Beauty  and  the  Beast 

15  St.  Patrick’s  Eve 

16  Captain  of  the  Watch 

VOL.  III. 

17  The  Secret  [per: 

18  White  Horse  of  the  Pep- 

19  The  Jacobite 

20  The  Bottle 

21  Box  and  Cox 

22  Bamboozling 

23  Widow’s  Victim 

24  Robert  Macaire 

VOL.  IV. 

25  Secret  Service 

26  Omnibus 

27  Irish  Lion 

28  Maid  of  Croissy 

29  The  Old  Guard 

30  Raising  the  Wind 

31  Slasher  and  Crasher 

32  Naval  Engagements 

VOL.  V. 

33  Cocknies  in  California 

34  Who  Speaks  First 

35  Bombastes  Furioso, 

36  Macbeth  Travestie 

37  Irish  Ambassador 

38  Delicate  Ground 

39  The  Weathercock 

40  All  that  Glitters 

VOL.  VI. 

41  Grimshaw,  Bagshaw  and 

Bradshaw 

42  Rough  Diamond 

43  Bloomer  Costume 

44  Two  Bonnycastles 

45  Born  to  Good  Luck 

4b  Kiss  in  the  Dark  ^  [jurer 

47  ’Twould  Puzzle  a  Con- 

48  Kill  or  Cure 

VOL.  VII. 

49  Box  and  Cox  Married  and 

50  St.  Cupid  [Settled 

‘  51  Go-to-bed  Tom 

52  The  Lawyers 

53  Jack  Sheppard 

54  The  Toodlts 

55  The  Mobeap 
66  Ladies  Beware 

VOL.  VIII. 

57  Morning  Call 

58  Popping  the  Question 

59  Deaf  as  a  Post 

60  New  Footman 

61  Pleasant  Neighbor 

62  Paddy  the  Piper 

63  Brian  O’Linn 

64  Irish  Assurance 

VOL.  IX. 

65  Temptation 

66  Paddy  Carey 

67  Two  Gregories  • 

68  King  Charming 

69  Po-ca-hon-tas 

70  Clockmaker’s  Hat 

71  Married  Rake 

72  Love  and  Murder 

VOL.  X. 

73  Ireland  and  America 

74  Pretty  Piece  of  Business 

75  Irish  Broom-maker 

76  To  Paris  and  Back 

Five  Pounds 

77  That  Blessed  Baby 

78  Our  Gal 

79  Swiss  Cottage 

80  Young  Widow' 


for 


VOL.  XI. 

81  O’Flannigun  and  the  Fai- 

82  Irish  Post  [ries 

83  My  Neighbor’s  Wife 

84  Irish  Tiger 

85  P.  P.,  or  Man  and  Tiger 

86  To  Oblige  Benson 

87  State  Secrets 

88  Irish  Yankee 

VOL.  XII. 

89  A  Good  Fellow 

90  Cherry  and  Fair  Star 

91  Gale  Breezely 

92  Our  Jemimy 

93  Miller’s  Maid 

94  Awkward  Arrival 

95  Crossing  the  Line 

96  Conjugal  Lesson 

VOL.  XIII. 

97  My  Wife’s  Mirror 

98  Life  in  New  York 

99  Middy  Ashore 

100  Crown  Prince 

101  T  wo  Que:  ns 

102  Thumping  Legacy 

103  Unfinished  Gentleman 

104  House  Dog 

VOL.  XIV. 

105  The  Demon  Lover 

106  Matrimony 

107  In  and  Outof  Place 

108  I  Dine  with  My  Mother 

109  Hi-a-wa-tha 

110  Andy  Blake 

111  Love  in  ’76  [ties 

112  Romance  under  Difficul- 

V i  ’L.  XV. 

113  One  Coat  for  2  Suits 

114  A  Decided  Case 

1 1 5  Daugh  ter  [nority 

116  No;  or,  the  Glorious  Mi- 

117  Coroner’s  Inquisition 

118  Love  in  Humble  Life 

119  Family  Jars 

120  Personation 

VOL.  XVI. 

121  Children  in  the  Wood 

122  Winning  a  Husband 

123  Day  After  the  Fair 

124  Make  Your  Wills 

125  Rendezvous 

126  My  Wife’s  Husband 

127  Monsieur  Tonson 

128  Illustrious  Stranger 

VOL.  XVII. 

1 29  Mischief-Making  [Mines 

130  A  Live  Woman  in  the 

131  The  Corsair 

132  Shy  lock 

133  Spoiled  Child 

134  Evil  Eye 

135  Nothing  to  Nurse 

136  Wanted  a  Widow 

VOL.  XVIII. 

137  Lottery  Ticket 

138  Fortune’s  Frolic 

139  Is  he  Jealous? 

140  Married  Bachelor 

141  Husband  at  Sight 

142  Irishman  in  London 

143  Animal  Magnetism 

144  Highways  and  By-Wavs 

'  VOL.  XIX.. 

145  Columbus 

146  Harlequin  Bluebeard 

147  Ladies  at'Home 

148  Phenomenon  in  a  Smock 

Frock 

149  Comedy  and  Tragedy 

150  Opposite  N  eighbors . — 

1 51  Dutchman’s  Ghost 

152  Persecuted  Dutchman 

VOL.  XX. 

153  Musard  Ball 

154  Great  Tragic  Revival 

155  High  Low  Jack  A  Game 

156  A  Gentleman  from  Ire- 

157  Tom  and  Jerry  [land 

158  Village  Lawyer 

159  Captain’s  not  A-miss 

160  Amateurs  and  Actors 


VOL.  XXL 

161  Promotion  [ual 

162  A  Fascinating  Individ- 

163  Mrs.  Caudle 

164  Shakespeare's  Dream. 

165  Neptune's  Defeat 

166  Lady  of  Bedchamber 

167  Take  Care  of  Little 

168  Irish  Widow  [Charley 

VOL.  XXII. 

169  Yankee  Peduler 

170  Hiram  Hireout 

171  Double-Bedded  Room 

172  The  Drama  Defended 

173  Vermont  Wool  Dealer 


VOL.  XXXI. 

241  Cool  as  Cucumber 

242  Sudden  Thoughts 

243  Jumbo  Jum 

244  A  Blighted  Being 

245  Little  Toddlekins 
24b  A  Lovi  r  by  Proxy 

247  Maid  with  the  Mi 

248  Perplexing  Predic: 

VOL.  XXXU. 

249  Dr.  Dil  worth 

250  Out  to  Nurse 

251  A  Lucky  Hit 

252  The  Dowager 

253  Metamora  (Bnrlesq 


174  Ebenezer  Venture  [ter  254  Dreams  of  Delusior 

175  Principles  from  Charac-1255  The  Shaker  Lovers 

176  Lady  of  the  Lake  (Trav)  256  Ticklish  Times 


VOL.  XXlli. 

177  Mad  Dogs 

178  Barney  the  Baron 

179  Swiss  Swains 

180  Bachelor’s  Bedroom  ' 

181  A  Roland  for  an  Oliver 

182  More  Blunders  than  One 

183  Dumb  Belle 
1x4  Lim  rick  boy 

VOL.  XXIV. 

185  Nature  and  Philosophy 

186  Teddy  the  Tiler 


187  Spectre  Bridegroom 

188  Matteo  Falcone 

189  Jenny  Lind 

190  Two  Buzzards 

191  Happy  Man 

192  Betsy  Baker 

VOL.  XXV. 

193  No.  1  Round  the  Corner 

194  Teddy  Roe 

195  Object  of  Interest 

196  My  Fellow  Clerk 

197  Bengal  Tiger 

198  Laughing  Hyena 

199  The  Victor  Vanquished 

200  Our  Wife 

VOL.  XXVI. 

201  My  Husband’s  Mirror 

202  Yankee  Land 

203  Norah  Creina 

204  Good  for  Nothing 

205  The  First  Night 

206  The  Eton  Boy 

207  Wandering  Minstrel 

208  Wanted,  1000  Milliners 

VOL.  XXVII. 

209  Poor  Pilcoddy 

210  The  Mummy  [Glasses 

211  Don’t  Forget  your  Opera 

212  Love  in  Livery 

213  Anthony  and  Cleopatra 

214  -Trying  it  On 

215  Stage  Struck  Yankee 

216  Yroung  Wife  &  Old  Um¬ 

brella 

VOL.  XXVIII. 

217  Crinoline 

218  A  Family  Failing 

219  Adopted  Child 

220  Turned  Heads 

221  A  Match  in  the  Dark 

222  Advice  to  Husbands 

223  Siamese  Twins 

224  Sent  to  the  Tower 

VOL.  XXIX. 

‘.’25  Somebody  Else  \ 

2  6  Ladies’  Battle 

227  *rt  of  Acting 

228  The  Lady  of  the  Lions 

229  The  Rights  of  Man 

230  My  Husband’s  Ghost 

231  Two  Can  Play  at  that 

Game 

232  Fighting  bv  Proxy 

VOL.  >CXX. 

233  Unprotected  Female 

234  Pet  of  the  Petticoats 

235  Forty  and  Fifty  [book 

236  Who  Stole  the  Pocket- 

237  My  Son  Diana  [sion 

238  LT n warrantable  Intru- 

239  Mr.  and  Mrs.  White 
2^0  A  Quiet  Family 


( French's  Minor  Drama  Continued  on  yd  page  of  Cover .) 


VOL.  XXXIII.  j 
■57  20  Minutes  with  a  ’ll 

258  Miralda;  or,  the  Ji 
of  Tacon 

259  A  Soldier’s  Courtsh 

260  Servants  by  Legacy  | 

261  Dying  for  Love 

262  Alarming  Sacrifice  ; 

263  Valet  de  Sham 

264  Nicholas  8  icklebv 

VOL.  XXXIV. 

265  The  Last  of  the  Pig 

266  King  Rene’s  Daugh 

267  The  Grotto  Nymph 

268  A  Devilish  Good  Jo 

269  A  Twice  Told  Tale 

270  Pas  de  Fascination 
•71  Revolutionary  Soldi 

272  A  Man  Without  a  1 

VOL.  XXXV. 

273  The  Olio,  Part  1 

274  Tne  ( llio,  Part  2 

275  The  Olio,  Part  3 

276  The  Trumpeter’s  D: 

277  Seeing  Warren 

278  Green  Mountain  Bo 

279  That  Nose 

280  Tom  Noddy’s  Serre 

VOL.  XXXVI. 

281  Shocking  Events 

282  A  Regular  Fix 

283  Dick  Turpin 

284  Young  Scamp 

285  Young  Actress 

286  Call  at  No.  1—7 

287  One  Touch  of  Natu! 

288  Two  B’hovs 

VOL.  XXXVII. 

289  All  the  W orld’s  a  S 

290  Quash,  or  Nigger  1 

291  Turn  Him  Out 

292  Pretty  Girls  of  Stilll 

293  Angel  of  the  Attic 

294  Circumstances  alter! 

295  Katty  O’Sheal 

296  A  Supper  in  Dixie 

VOL.  XXXVIII. 

297  Ici  on  Parle  Francai 

298  Who  Killed  Cock  R 

299  Declaration  oflndet 

300  Heads  or  Tails  [ 

301  Obstinate  Family 

302  My  Aunt 

303  That  Rascal  Pat 

304  Don  Paddy  de  Bazai 
VOL.  XXXIX.  ’> 

305  Too  Mti^i  for  Good 

306  Cure  for  the  Fidgets 

307  Jack’s  the  Lad 

308  Much  AdoAboutNot 

309  Artful/Dodger 

310  Winning  Hazard 

311  Day’s  Fishing 

312  Did  you  ev.  r  send  y 

VOL.  XL. 

313  An  Irishman’s  Mane 

314  Cousin  Fannie 

31 5  ’Tis  the  Darkest  Hou 

316  Masquerade  f fore  P 

317  Crowding  the  Seasot 

318  Good  Night’s  Rest 

319  Man  with  the  Carpet 

320  Terrible  Tinker 


SAMUEL  FRENCH,  26  West  22d  Street,  New  York  City. 


